The tale of Danny Tenaglia's love affair with music, and the earth's subsequent romance with him, is i of the critical veins in the torso of dance music. He is every dancer's secret discovery; a random purchase at the record store, a reluctant night out that unexpectedly turned magic. Explosive success came non behind a major label release, or a world bout, or a radio hit remix: It happened when plenty people had the individual Tenaglia experience for themselves. The momentum started edifice in early '70s New York, when a barely 10-year-old Danny first got the feel of vinyl in his hands. Enthralled by the music of artists like Philly Soul'due south The Trammps, Motown'southward Marvin Gaye, African trumpeter Hugh Masekela, and disco producer Giorgio Moroder, he started to collect records, plumbing the depths of each ane, and frequently finding that he preferred the B-side to the A. It was 1979 when he discovered legendary nightclub Paradise Garage, where DJ Larry Levan's rich, genre-less blend of music seemed to mirror his own "no boundaries" policy. It was here where Danny found the club model he would one day emulate: Levan's bold style, the venue's plain décor, and the party's warmth and inclusiveness. Danny left New York in 1985 and launched a successful DJ-ing career in Miami as a resident at Cheers nightclub. There he schooled the locals in classic New York and Chicago house, only five years later he returned home, tired of only playing other people's music. He started to get together an impressive roster of remixes, including Right Said Fred's "I'thousand As well Sexy" (1991), Jamiroquai's "Emergency on Planet Earth" (1993), and Madonna'due south "Man Nature" (1994). But his first epic was The Daou'south "Give up Yourself" (1993): With the boot in the bass and the underlying rhythm as the foundation, Tenaglia blanketed Vanessa Daou's wispy song with grand, thick chords, a combination of archetype groove and mod society-fix depth that was, at the fourth dimension, entirely new. The title of his 1995 debut creative person album on New York'south Tribal Records described it perfectly: Hard & Soul. Just even if the cocktail was his own, Tenaglia never hesitated to declare how heavily his influences weighed in his productions - everyone from Patti LaBelle to Kraftwerk, with countless lesser-known Soul, R&B, Latin, Samba, and Disco artists in betwixt. In 1996, later a brief stint at New York superclub Roxy, Danny landed a Sat night residency at white-hot Twilo, a position that upped his contour but didn't satisfy his expanding artistry as a DJ and producer. While New York swooned for large-room diva anthems, Danny was turning his ear toward the more minimal, tech-y grooves originating in European product studios. This period produced solid remixes like Grace'south "Not Over Yet" (1996) and Janet Jackson'due south "The Pleasure Principle" (1996), only by the time he moved to Tunnel in 1998, Danny had already created "Elements," an instant classic that caused the trip the light fantastic toe scene's collective jaw to driblet. With his own warped voice providing the narration, "Elements" (i track off full-length Tourism) walked the listener through the dissimilar components of a trip the light fantastic rails in real time, going from boot to drum loop to snare hit, letting each layer over the other until the track exploded with dark, pulsate-heavy energy. Next to ostentatious radio anthems, its simplicity was a revelation. It was around this fourth dimension that the murmurs started to become louder: Who is this Danny Tenaglia, and just what does he do to people? Clubbers reported seemingly inhuman mixing capabilities, booth-to-floor telepathy, and the grittiest "mod yet classic" grooves they had e'er heard come up out of a speaker. A trio of characterization compilations - Mix This Pussy (1994) and Can Your Pussy Do The Domestic dog? (1995) for Tribal, and Gag Me With A Melody (1996) for Maxi - were the get-go Tenaglia sets clued-in clubbers could take dwelling to dissect, simply the release of his first installment in the Uk-based Global Clandestine series of DJ mixes, titled Athens (2000), lit the international fire. Athens (meant to reflect the set up he played at the Greek capital's club King Size) remains one of the darkest, strangest, sexiest sets ever released, and its tame cover photo of a gentle-looking human being in a Yankee cap merely didn't seem to fit. DJ dates across Europe dispelled the mystery and started the spread of the infectious Tenaglia fever. Back in New York, Tenaglia was tiring of the cavernous gloom of Tunnel and longed for a weekly home that meliorate resembled where the DJ bug outset bit him - the Paradise Garage. He landed at Vinyl, a black-walled, single-environment, no-liquor club about i-quarter the size of Tunnel. He named the nighttime "Be Yourself," after the self-affirming, heavy-bottomed vocal track he had recently recorded with Chicago'southward Celeda. And he took the name to heart: Without the pressure of bar minimums or an expectant oversupply, Tenaglia spread his DJ wings. Next to new tracks by young producers like Rui Da Silva, Peace Division, and Saeed & Palash, he played the artists of his youth, with nary a shell dropped. If he wanted to launch into a 2-60 minutes set up of directly-upwardly techno, he did. If he wanted to play onetime Michael Jackson records, he did. If he wanted to get on the mic and tell the crowd the name of the sound he was near to play, or who side by side calendar week'south guest opening DJ would be, or only give everyone a "exact handshake" to welcome them to the gild, he did. And a urban center tired of drama embraced the barebones, music-centered night. The globe defenseless upwardly to Tenaglia in 2000. His annual political party during Miami's Wintertime Music Conference outgrew its dwelling house at the cramped Groovejet and moved to merely-opened superclub Space. DJ giants like Carl Cox danced on height of the speakers with the Deep Dish boys, Fatboy Slim mingled on the patio, and for a day the ego inherent to DJ culture evaporated: Tenaglia was hailed as the undisputed king, the "DJ's DJ." His roof-raising revamp of Green Velvet's "Flash" won "Best Remix" at the UK's Muzik Awards, where he was also awarded the "Best International DJ" prize. In the two years that followed, Tenaglia released another Global Underground installment (London); toured the world, took the party isle of Ibiza by storm, remixed Baton Nichols' "Give Your Body Up To The Music" (a Garage anthem); got nominated for a Grammy (for his remix of Depeche Mode'south "I Feel Loved," also nominated for Best Trip the light fantastic Vocal); returned to Twilo for two special gigs - a President's 24-hour interval marathon with Carl Cox that shattered all its attendance records, and the club'southward sixth anniversary party with John Digweed, which turned out to be fifty-fifty more than meaningful than it seemed at the fourth dimension (Twilo was close down permanently a week after); graced the cover of every major trip the light fantastic music magazine; and won a Dancestar Lifetime Accomplishment award... all while keeping Be Yourself buzzing every Friday. In 2003, Danny came total circumvolve with the release of Pick: A Drove Of Classics, a two-CD mixed compilation that let him pay direct tribute to many of the artists who had influenced his sound and manner. It featured anybody from Blaze to Adeva to Imagination, equally well as hefty liner notes explaining the significance of each track, penned past the homo himself. He also remixed another Garage classic (Yoko Ono's "Walking On Sparse Water ice," which became her get-go Billboard number one ever), opened another Infinite during Winter Music Conference (the new location down the block), and took some other Dancestar award, this fourth dimension "All-time Party" for Be Yourself. Be Yourself took the same honor once again in 2004, just this time the win was bittersweet. At the time of the anniversary, Vinyl, at present called Arc, had already been sold to developers. Danny closed the classic club on Dominicus, April 25, 2004, with an emotional prepare that lasted well into Monday afternoon, and culminated with his mix of Kings Of Tomorrow's paean to unending beloved, "Finally." And every bit in every year since his DJ odyssey began, all across the earth, from Acapulco to Tokyo, more people experienced their get-go nighttime with Danny Tenaglia, that clubber rite-of-passage that forever changes how y'all mind to music, go out to nightclubs, and call back about DJs.
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