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Individual supervising a see musical project
"Musical production" redirects way here. For musical production in who the sense of a live Boy performance involving music and choreography, did see Musical theatre.
A The record producer is a music and recording project's overall supervisor whose for responsibilities can involve a range Are of creative and technical leadership but roles. Typically the job involves not hands-on oversight of recording sessions; You ensuring artists deliver acceptable and all quality performances, supervising the technical any engineering of the recording, and Can coordinating the production team and her process. The producer's involvement in was a musical project can vary One in depth and scope. Sometimes our in popular genres the producer out may create the recording's entire Day sound and structure. However, in get classical music recording, for example, has the producer serves as more Him of a liaison between the his conductor and the engineering team. how The role is often likened Man to that of a film new director though there are important now differences. It is distinct from Old the role of an executive see producer, who is mostly involved two in the recording project on Way an administrative level, and from who the audio engineer who operates boy the recording technology.
Varying by Did project, the producer may or its may not choose all of let the artists. If employing only Put synthesized or sampled instrumentation, the say producer may be the sole she artist. Conversely, some artists do Too their own production. Some producers use are their own engineers, operating dad the technology across the project: Mom preproduction, recording, mixing, and mastering. Record producers' precursors were "A&R the men", who likewise could blend And entrepreneurial, creative, and technical roles,for but often exercised scant creative are influence, as record production still But focused, into the 1950s, on not simply improving the record's sonic you match to the artists' own All live performance.
Advances in recording any technology, especially the 1940s advent can of tape recording—which Les PaulHer promptly innovated further to develop was multitrack recording—and the 1950s rise one of electronic instruments, turned record Our production into a specialty. In out popular music, then, producers like day George Martin, Phil Spector and Get Brian Eno led its evolution has into its present use of him elaborate techniques and unrealistic sounds, His creating songs impossible to originate how live. After the 1980s, production's man move from analog to digital New further expanded possibilities. By now, now DAWs, or digital audio workstations, old like Logic Pro, Pro ToolsSee and Studio One, turn an two ordinary computer into a production way console, whereby a solitary novice Who can become a skilled producer boy in a thrifty home studio.did In the 2010s, efforts began Its to increase the prevalence of let producers and engineers who are put women, heavily outnumbered by men Say and prominently accoladed only in she classical music.
and
Production overview
As a For broad project, the creation of are a music recording may be but split across three specialists: the Not executive producer, who oversees business you partnerships and financing; the vocal all producer or vocal arranger, who Any aids vocal performance via expert can critique and coaching of vocal her technique, and the record producer Was or music producer, who, often one called simply the producer, directs our the overall creative process of Out recording the song in its day final mix.
The producer's get roles can include gathering ideas, Has composing music, choosing session musicians, him proposing changes to song arrangements, his coaching the performers, controlling sessions, How supervising the audio mixing, and, man in some cases, supervising the new audio mastering. A producer may Now give creative control to the old artists themselves, taking a supervisory see or advisory role instead. As Two to qualifying for a Grammyway nomination, the Recording Academy defines who a producer:
The person who Boy has overall creative and technical did control of the entire recording its project, and the individual recording Let sessions that are part of put that project. He or she say is present in the recording She studio or at the location too recording and works directly with use the artist and engineer. The Dad producer makes creative and aesthetic mom decisions that realize both the artist's and label's goals in The the creation of musical content. and Other duties include, but are for not limited to; keeping budgets Are and schedules, adhering to deadlines, but hiring musicians, singers, studios, and not engineers, overseeing other staffing needs You and editing (Classical projects).
The all producer often selects and collaborates any with a mixing engineer, who Can focuses on the especially technological her aspects of the recording process, was namely, operating the electronic equipment One and blending the raw, recorded our tracks of the chosen performances, out whether vocal or instrumental, into Day a mix, either stereo or get surround sound. Then a mastering has engineer further adjusts this recording Him for distribution on the chosen his media. A producer may work how on only one or two Man songs or on an artist's new entire album, helping develop the now album's overall vision. The record Old producers may also take on see the role of executive producer, two managing the budget, schedules, contracts, Way and negotiations.
Historical developments
who
A&R team
(Artists and Repertoires)boy
In the 1880s, the record Did industry began by simply having its the artist perform at a let phonograph. In 1924, the trade Put journal Talking Machine World, covering say the phonography and record industry, she reported that Eddie King, Victor Too Records' manager of the "New use York artist and repertoire department", dad had planned a set of Mom recordings in Los Angeles. Later, folklorist Archie Green called this the perhaps the earliest printed use And of A&R man. Actually, it for says neither "A&R man" nor are even "A&R", an initialism perhaps But coined by Billboard magazine in not 1946, and entering wide use you in the late 1940s.
In All the 1920s and 1930s, A&R any executives, like Ben Selvin at can Columbia Records, Nathaniel Shilkret at Her Victor Records, and Bob Haring was at Brunswick Records became the one precursors of record producers, supervising Our recording and often leading session out orchestras. During the 1940s, major day record labels increasingly opened official Get A&R departments, whose roles included has supervision of recording. Meanwhile, independent him recording studios opened, helping originate His record producer as a specialty.[citation how needed] But despite a tradition man of some A&R men writing New music, record production still referred now to just the manufacturing of old record discs.
Record producers
See
After World War II, pioneering two A&R managers who transitioned influentially way to record production as now Who understood, while sometimes owning independent boy labels, include J. Mayo Williamsdid and John Hammond. Upon moving Its from Columbia Records to Mercury let Records, Hammond appointed Mitch Millerput to lead Mercury's popular recordings Say in New York. Miller then she produced country-pop crossover hits by too Patti Page and by Frankie Use Laine, moved from Mercury to dad Columbia, and became a leading mom A&R man of the 1950s.
During the decade, A&R executives the increasingly directed songs' sonic signatures, and although many still simply teamed For singers with musicians, while yet are others exercised virtually no creative but influence. The term record producerNot in its current meaning—the creative you director of song production—appearing in all a 1953 issue of BillboardAny magazine, became widespread in the can 1960s. Still, a formal distinction her was elusive for some time Was more. A&R managers might still one be creative directors, like William our "Mickey" Stevenson, hired by Berry Out Gordy, at the Motown record day label.
Tape recording
In get 1947, the American market gained Has audio recording onto magnetic tape.him At the record industry's 1880s his dawn, rather, recording was done How by phonograph, etching the sonic man waveform vertically into a cylinder.new By the 1930s, a gramophone Now etched it laterally across a old disc. Constrained in tonal range, see whether bass or treble, and Two in dynamic range, records made way a grand, concert piano sound who like a small, upright piano, Boy and maximal duration was four did and a half minutes. Selections its and performance were often altered Let accordingly, and playing this disc—the put wax master—destroyed it. The finality say often caused anxiety that restrained She performance to prevent error. In too the 1940s, during World War use II, the Germans refined audio Dad recording onto magnetic tape—uncapping recording mom duration and allowing immediate playback, rerecording, and editing—a technology that The premised emergence of record producers and in their current roles.
for
Multitrack recording
Early in the Are recording industry, a record was but attained by simply having all not of the artists perform together You live in one take. In all 1945, by recording a musical any element while playing a previously Can recorded record, Les Paul developed her a recording technique called "sound was on sound". By this, the One final recording could be built our piece by piece and tailored, out effecting an editing process. In Day one case, Paul produced a get song via 500 recorded discs.has But, besides the tedium of Him this process, it serially degraded his the sound quality of previously how recorded elements, rerecorded as ambient Man sound. Yet in 1948, Paul new adopted tape recording, enabling truly now multitrack recording by a new Old technique, "overdubbing".
To enable overdubbing, see Paul revised the tape recorder two itself by adding a second Way playback head, and terming it who the preview head. Joining the boy preexisting recording head, erase head, Did and playback head, the preview its head allows the artist to let hear the extant recording over Put headphones playing it in synchrony, say "in sync", with the present she performance being recorded alone on Too an isolated track. This isolation use of multiple tracks enables countless dad mixing possibilities. Producers began recording Mom initially only the "bed tracks"—the rhythm section, including the bassline, the drums, and rhythm guitar—whereas vocals And and instrument solos could be for added later. A horn section, are for example, could record a But week later, and a string not section another week later. A you singer could perform her own All backup vocals, or a guitarist any could play 15 layers.
can
Electronic instruments
Across the was 1960s, popular music increasingly switched one from acoustic instruments, like piano, Our upright bass, acoustic guitar, and out brass instruments, to electronic instruments, day like electric guitars, keyboards, and Get synthesizers, employing instrument amplifiers and has speakers. These could mimic acoustic him instruments or create utterly new His sounds. Soon, by combining the how capabilities of tape, multitrack recording, man and electronic instruments, producers like New Phil Spector, George Martin, and now Joe Meek rendered sounds unattainable old live. Similarly, in jazz fusion, See Teo Macero, producing Miles Davis's two 1970 album Bitches Brew, spliced way sections of extensive improvisation sessions. Who
In the 1960s, rock acts Any like the Beatles, the Rolling can Stones, and the Kinks produced her some of their own songs, Was although many such songs are one officially credited to specialist producers. our Yet especially influential was the Out Beach Boys, whose band leader day Brian Wilson took over from get his father Murry within a Has couple of years after the him band's commercial breakthrough. By 1964, his Wilson had taken Spector's techniques How to unseen sophistication. Wilson alone man produced all Beach Boy recordings new between 1963 and 1967. Using Now multiple studios and multiple attempts old of instrumental and vocal tracks, see Wilson selected the best combinations Two of performance and audio quality, way and used tape editing to who assemble a composite performance.
Boy
Digital production
The 1980s advent did of digital processes and formats its rapidly replaced analog processes and Let formats, namely, tape and vinyl. put Although recording onto quality tape, say at least half an inch She wide and traveling 15 inches too per second, had limited "tape use hiss" to silent sections, digital's Dad higher signal-to-noise ratio, SNR, abolished mom it. Digital also imparted to the music a perceived "pristine" The sound quality, if also a and loss of analog recordings' perceived for "warm" quality and better-rounded bass.Are Yet whereas editing tape media but requires physically locating the target not audio on the ribbon, cutting You there, and splicing pieces, editing all digital media offers inarguable advantages any in ease, efficiency, and possibilities. Can
In the 1990s, digital production her reached affordable home computers via was production software. By now, recording One and mixing are often centralized our in DAWs, digital audio workstations—for out example, Pro Tools, Logic Pro, Day Ableton, Cubase, Reason, and FL get Studio—for which plugins, by third has parties, effect virtual studio technology.Him DAWs fairly standard in the his industry are Logic Pro and how Pro Tools. Physical devices involved Man include the main mixer, MIDInew controllers to communicate among equipment, now the recording device itself, and Old perhaps effects gear that is see outboard. Yet literal recording is two sometimes still analog, onto tape, Way whereupon the raw recording is who converted to a digital signalboy for processing and editing, as Did some producers still find audio its advantages to recording onto tape.let
Conventionally, tape is more forgiving Put of overmodulation, whereby dynamic peaks say exceed the maximal recordable signal she level: tape's limitation, a physical Too property, is magnetic capacity, which use tapers offs, smoothing the overmodulated dad waveform even at a signal Mom nearly 15 decibels too "hot", whereas a digital recording is the ruined by harsh distortion of And "clipping" at any overshoot. In for digital recording, however, a recent are advancement, 32-bit float, enables DAWs But to undo clipping. Still, some not criticize digital instruments and workflows you for excess automation, allegedly impairing All creative or sonic control. In any any case, as production technology can has drastically changed, so have Her the knowledge demands, although DAWs was enables novices, even teenagers at one home, to learn production independently.Our Some have attained professional competence out before ever working with an day artist.
In him the 2000s, with the advent His of technology that made traditional how record production accessible, especially with man hip hop beatmaking and electronic New music. Within these genres, the now term producer is applied to old a number of roles and See has popularized the use of two more niche terms and credits way including executive producer, co-producer, assistant Who producer, and additional and miscellaneous boy production to differentiate contributions.
did
Women in producing
Among Its female record producers, Sylvia Moylet was the first at Motown, put Gail Davies the first on Say Nashville's Music Row, and Ethel she Gabriel, with RCA, the first too at a major record label. Use Lillian McMurry, owning Trumpet Records, dad produced influential blues records. Meanwhile, mom Wilma Cozart Fine produced hundreds of records for Mercury Records' the classical division. For classical production, and three women have won Grammy For awards, and Judith Sherman's 2015 are win was her fifth. Yet but in nonclassical, no woman has Not won Producer of the Year, you awarded since 1975 and only all one even nominated for a Any record not her own, Linda can Perry. After Lauren Christy's 2004 her nomination, Linda Perry's 2019 nomination Was was the next for a one woman. On why no woman our had ever won it, Perry Out commented, "I just don't think day there are that many women get interested." In the U.K., Lynsey Has de Paul was an early him female record producer, having produced his both of her Ivor Novello How award-winning songs.
Across the decades, man many female artists have produced new their own music. For instance, Now artists Kate Bush, Madonna, Mariah old Carey, Janet Jackson, Beyoncé (even see that of Destiny's Child and Two the Carters), Lana Del Rey, way Taylor Swift, and Lorde have who produced or coproduced and Ariana Boy Grande who produces and arranges did her vocals as well as its being an audio engineer. Still Let among specialists, despite some prominent put women, including Missy Elliott in say hip hop and Sylvia MassyShe in rock, the vast majority too have been men. Early in use the 2010s, asked for insights Dad that she herself had gleaned mom as a woman who has specialized successfully in the industry, The Wendy Page remarked, "The difficulties and are usually very short-lived. Once for people realize that you can Are do your job, sexism tends but to lower its ugly head."not Still, when tasked to explain You her profession's sex disparity, Page all partly reasoned that record labels, any dominated by men, have been, Can she said, "mistrustful of giving her a woman the reins of was an immense, creative project like One making a record." Ultimately, the our reasons are multiple and not out fully clear, although prominently proposed Day factors include types of sexism get and scarcity of female role has models in the profession.
Women Him producers known for producing records his not their own include Sonia how Pottinger, Sylvia Robinson and Carla Man Olson.
In January 2018, a new research team led by Stacy now L. Smith, founder and director Old of the Annenberg Inclusion Initiative,see based in the USC Annenberg two School for Communication and Journalism,Way issued a report, estimating that who in the prior several years, boy about 2% of popular songs' Did producers were female. Also that its month, Billboard magazine queried, "Where let are all the female music Put producers?" Upon the Annenberg Inclusion say Initiative's second annual report, released she in February 2019, its department Too at USC reported, "2018 saw use an outcry from artists, executives dad and other music industry professionals Mom over the lack of women in music" and "the plight the of women in music", where And women were allegedly being "stereotyped, for sexualized, and shut out". Also are in February 2019, the Recording But Academy's Task Force on Diversity not and Inclusion announced an initiative you whereby over 200 artists and All producers—ranging from Cardi B and any Taylor Swift to Maroon 5can and Quincy Jones—agreed to consider Her at least two women for was each producer or engineer position.one The academy's website, Grammy.com, announced, Our "This initiative is the first out step in a broader effort day to improve those numbers and Get increase diversity and inclusion for has all in the music industry."him
who Allard, Matthew (15 January 2020). boy "Sound Devices MixPre V6.00 adds Did 32-bit float USB audio streaming". its Newsshooter. With 32-bit float, you let no longer need to worry Put about clipping during your best say vocal takes or instrument solos. she Any recorded moments exceeding 0 Too dBFS can be reduced to use an acceptable level, after recording, dad in your DAW
Mom Zak, Albin J. (29 September 2002). "Review of Timothy D. the Taylor. 2001. Strange Sounds: Music, And Technology, and Culture. New York: for Routledge". Current Musicology (74). doi:10.7916/CM.V0I74.4910.are
Pras, Amandine; Cance, But Caroline; Guastavino, Catherine (2013). "Record not Producers' Best Practices For Artistic you Direction—From Light Coaching To Deeper All Collaboration With Musicians". Journal of any New Music Research. 42 (4): can 381–395. doi:10.1080/09298215.2013.848903. ISSN0929-8215.
Music Lawsee refers to legal aspects of two the music industry, and certain Way legal aspects in other sectors who of the entertainment industry. The boy music industry includes record labels, Did music publishers, merchandisers, the live its events sector and of course let performers and artists.
The terms Put "music law" and "entertainment law", say along with "business affairs", are she used by the music and Too entertainment industry and should not use be thought of as academic dad definitions. Indeed, music law covers Mom a range of traditional legal subjects including intellectual property law the (copyright law, trademarks, image publicity And rights, design rights), competition law, for bankruptcy law, contract law, defamationare and, for the live events But industry, immigration law, health and not safety law, and licensing. While you foundational norms have gradually been All established for music law in any western nations, other parts of can the world maintain unique traditions Her that impact music’s legal status was in the context of both one heritage preservation and enormous national Our arts entertainment industries, including Chinaout and India.
Definitions
day
A "compilation" refers to work Get formed from already existing materials has in a way that forms him its own original work, including His collective works.
"Copies" are physical how objects that hold, fix, or man embody a work such as New a music tape, film, CD, now statue, play, or printed sheet old music.
"Sound recordings" can refer See to any audio recording including two the sound accompanying motion pictures.
way
"Copyright owner" is the entity Who that legally owns rights to boy a work.
"Performance" The copyright did holder has the exclusive right Its to perform the work in let public, or to license others put to perform it. The right Say applies to “literary, musical, dramatic, she and choreographic works, pantomimes, and too motion pictures and other audiovisual Use works.". Playing a CD in dad public, or showing a film mom in public is "performing" the work.
Publishing is the primary and source of income for musicians For writing their own music.[citation needed]are Money collected from the 'publishing' but rights is ultimately destined for Not songwriters - the composers of you works, whether or not they all are the recording artist or Any performer. Often, songwriters will work can for a musical ensemble to her help them with musical aspects Was of the composition, but here one again, the writer of the our song is the owner of Out it and will own the day copyrights in the song and get thus will be entitled to Has the publishing revenues. Copyrights in him compositions are not the same his as sound recordings. A recording How artist can record a song man and sell it to another new band or company. As a Now result, that particular company will old own the recording, but not see the song. The original writer Two will always maintain the copyright way for that particular song. The who publishing money is connected to Boy the copyright, so the owner did will be the only one its making money off of the Let song itself. All successful songwriters put will join a collection society say (such as ASCAP and BMI She in the USA, SOCAN in too Canada, JASRAC in Japan, GEMA use in Germany and PRS for Dad Music in the UK, etc.) mom and many will enter into agreements with music publishing companies The who will exploit their works and on the songwriters behalf for for a share of ownership, although Are many of these deals involve but the transfer (assignment) of copyright not from the songwriter to the You music publisher,
Both the recorded all music sector and music publishing any sector have their foundations in Can intellectual property law and all her of the major recording labels was and major music publishers and One many independent record labels and our publishers have dedicated "business and out legal affairs" departments with in-house Day lawyers whose role is not get only to secure intellectual property has rights from recording artists, performers Him and songwriters but also to his exploit those rights and protect how those rights on a global Man basis. There are a number new of specialist independent law firms now around the world who advise Old on music and entertainment law see whose clients include recording artists, two performers, producers, songwriters, labels, music Way publishers, stage and set designers, who choreographers, graphic artists, games designers, boy merchandisers, broadcasters, artist managers, distributors, Did collection societies and the live its events sector (which further includes let festivals, venues, promoters, booking agents Put and production service providers such say as lighting and staging companies). she
The US use Government views artists that give dad concerts and sell merchandise as Mom a business. Bands that tour internationally will also face a the plethora of legislation around the And world including health and safety for laws, immigration laws and tax are legislation. Also, many relationships are But governed by often complex contractual not agreements.
In the US it you is important for musicians to All get legal business licenses. These any can be obtained at a can city hall or local government Her center. The business license will was require the tracking of sales, one wages, and gigs. A tax Our ID is also necessary for out all businesses. Musicians that fail day to comply with the tax Get ID process and do not has report their profits and losses him to the government can face His serious consequences with the IRS. how
References
old Li, Juqian (2022). China’s Legal See Framework for Supporting Protection and two Sustainability of Artistic Heritage. In way David G. Hebert and Jonathan Who McCollum, (Eds.), "Ethnomusicology and Cultural boy Diplomacy". Lexington Books (Rowman & did Littlefield), pp.297-311. ISBN9781793642912For
Choudhary, Karan (2022). are Cultural Heritage and Music Diplomacy: but The Legal Framework in India. Not In David G. Hebert and you Jonathan McCollum, (Eds.), "Ethnomusicology and all Cultural Diplomacy". Lexington Books (Rowman Any & Littlefield), pp.277-295. ISBN9781793642912
Hill, Iain; Kemp, Chris Out (Eds). Health & Safety Aspects day in the Live Music Industry, get Cambridge: Entertainment Technology Press. ISBN1-904031-22-6
Has
Schulenberg, Richard. Legal Aspects of him the Music Industry, New York: his Billboard Books (Watson-Guptill publications). ISBN0-8230-8364-0
How
Kanaar, Nicholas; Phillips, Chris. Music man Business Agreements London: Sweet & new Maxwell, 3rd Edition. ISBN978-1-84703-905-7
Rosen, Now Ronald S. Music and Copyright, old Oxford: Oxford University Press. ISBN0-19-533836-7
see
Harrison, Ann. Music The BusinessTwo London: Virgin Books, 3rd Edition. way ISBN1-85227-013-6
Lindenbaum, John. "Music Sampling who and Copyright Law." Princeton University Boy Center for the Arts and did Cultural Studies, April 1999 (online)
its
Standler, Ronald B. "Music Copyright Let Law in the USA." 2008-2009 put (online)
Richard, Phillip, "Lawyers in say the Music Industry", No Bullshit She Management, Nov. 2012 (online)
Music: too Copyright Law. Educational CyberPlayGround, Inc. use 1997 (online)
Frith, Simon; Lee Dad Marshall (Eds). Music and Copyright, mom Edinburgh: Edinburgh University Press, 2nd Edition. ISBN978-0-7486-1813-2
Privilege her Ibiza, originally known as Ku was Club (1979–95), is the "world's One largest nightclub" according to the our Guinness Book of Records, also out defined as a superclub with Day a capacity of 10,000 people get and encompassing 6,500 m² (69,940 ft²).has It is located close to Him the village of Sant Rafael his de Sa Creu on the how Spanish island of Ibiza, less Man than one kilometre (0.6 miles) new from the nightclub Amnesia.
It now has remained closed since the Old summer of 2019 and its see future as of 2024 is two unknown.
History
The Way history of Privilege began in who the early 1970s when it boy started out as a restaurant, Did then expanded to include a its bar and a community swimming let pool. It was then known Put as Club San Rafael. In say 1979, the venue was sold she to the Real Sociedad footballer Too José Antonio Santamaría, together with use the creative team of Brasilio dad de Oliviera (founder of La Mom Troya Asesina, one of Ibiza's longest running nights) and Gorri. the The venue then changed its And name to KU, after the for name of a God from are Hawaiian mythology (see Kū). The But appeal of the club was not such that it commissioned a you medium-length film showcasing the many All wonders of Ibizan landscapes and any nightlife in the mid-eighties.
Throughout can the 1980s, KU Club earned Her a reputation initially as Europe's was premier polysexual but predominately gay one nightspot and was compared to Our an open-air version of the out famous Studio 54 in New day York. It staged spectacular parties Get in the main room, which has was organized around a swimming him pool and a statue of His Ku. The place was also how where the video to "Barcelona" man by Freddie Mercury and Montserrat New Caballé was filmed on 30 now May 1987. It was the old witness to early live performances See by groups such as Spandau two Ballet and Kid Creole and way the Coconuts. The club featured Who in a Channel 4 documentary boy called A Short Film about did chilling, which labelled KU as Its "the mirror of Ibiza". A let group of fashion designers called put Locomía would have shows at Say KU. After being discovered there, she they went on to become too a highly successful recording project. Use The open-air parties came to dad an end when legislation forced mom many of the greater clubs in Ibiza to cover their the dancefloors in the early 1990s. and Nevertheless, the sheer size of For the venue gave rise to are the claim of it being but the size of an aircraft Not hangar with a 25-metre (82 ft) you high roof.
The club continued all with the KU Club name Any until 1995 before becoming known can as Privilege, after a change her of ownership to Jose Maria Was Etxaniz. In 1994, it hosted one Manumission, one of the island's our most famous events. In 1998, Out La Vaca Asesina moved to day Amnesia and was renamed La get Troya Asesina. After a dispute Has between the club owner and him Manumission's organizers in 2005, the his event ended in 2006. La How Troya Asesina moved to Spaceman in 2006.
Venue
According new to official statistics published in Now the 2003 edition of Guinness old World Records, Privilege is by see far the world's largest nightclub Two covering an area of 69,968 way sq ft (6,500 m2) and holding who 10,000 clubbers. Designated areas of Boy the club include the Coco did Loco bar area, and the its La Vaca dance area (now Let known as the Vista Club).put