'WON'T BE POSSIBLE' 
with Odd Mob & Goodboys May 9th! 
https://tiesto.lnk.to/wbp

MGMT: bo@id8mgmt.com

🎧 DJ/Producer - NYC & MIAMI
📩 Bookings: bookjross@gmail.com
🏆 80K on LPFJ Remix!

Socials:
Instagram: www.instagram.com/notjosephross/
TikTok: www.tiktok.com/@notjosephross
Soundcloud: @notjosephross

The tale of Danny Tenaglia's love affair with music, and the world's subsequent romance with him, is one of the critical veins in the body 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 not behind a major label release, or a world tour, or a radio hit remix: It happened when enough people had the private Tenaglia experience for themselves.

The momentum started building 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's The Trammps, Motown's Marvin Gaye, African trumpeter Hugh Masekela, and disco producer Giorgio Moroder, he started to collect records, plumbing the depths of each one, 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, but five years later he returned home, tired of only playing other people's music. He started to assemble an impressive roster of remixes, including Right Said Fred's "I'm Too Sexy" (1991), Jamiroquai's "Emergency on Planet Earth" (1993), and Madonna's "Human Nature" (1994). But his first epic was The Daou's "Surrender Yourself" (1993): With the kick in the bass and the underlying rhythm as the foundation, Tenaglia blanketed Vanessa Daou's wispy vocal with grand, thick chords, a combination of classic groove and modern club-ready depth that was, at the time, entirely new. The title of his 1995 debut artist album on New York's Tribal Records described it perfectly: Hard & Soul. But 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 between.

In 1996, after a brief stint at New York superclub Roxy, Danny landed a Saturday night residency at white-hot Twilo, a position that upped his profile but didn't satisfy his expanding artistry as a DJ and producer. While New York swooned for big-room diva anthems, Danny was turning his ear toward the more minimal, tech-y grooves originating in European production studios. This period produced solid remixes like Grace's "Not Over Yet" (1996) and Janet Jackson's "The Pleasure Principle" (1996), but by the time he moved to Tunnel in 1998, Danny had already created "Elements," an instant classic that caused the dance scene's collective jaw to drop. With his own warped voice providing the narration, "Elements" (one track off full-length Tourism) walked the listener through the different components of a dance track in real time, going from kick to drum loop to snare hit, letting each layer over the other until the track exploded with dark, drum-heavy energy. Next to ostentatious radio anthems, its simplicity was a revelation. 

It was around this time that the murmurs started to get 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 "modern yet classic" grooves they had ever heard come out of a speaker. A trio of label compilations - Mix This Pussy (1994) and Can Your Pussy Do The Dog? (1995) for Tribal, and Gag Me With A Tune (1996) for Maxi - were the first Tenaglia sets clued-in clubbers could take home to dissect, but the release of his first installment in the UK-based Global Underground series of DJ mixes, titled Athens (2000), lit the international fire. Athens (meant to reflect the set 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 man in a Yankee cap just 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 better resembled where the DJ bug first bit him - the Paradise Garage. He landed at Vinyl, a black-walled, single-environment, no-liquor club about one-quarter the size of Tunnel. He named the night "Be Yourself," after the self-affirming, heavy-bottomed vocal track he had recently recorded with Chicago's Celeda. And he took the name to heart: Without the pressure of bar minimums or an expectant crowd, 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 beat dropped. If he wanted to launch into a two-hour set of straight-up techno, he did. If he wanted to play old Michael Jackson records, he did. If he wanted to get on the mic and tell the crowd the name of the sound he was about to play, or who next week's guest opening DJ would be, or just give everyone a "verbal handshake" to welcome them to the club, he did. And a city tired of drama embraced the barebones, music-centered night. 

The world caught up to Tenaglia in 2000. His annual party during Miami's Winter Music Conference outgrew its home at the cramped Groovejet and moved to just-opened superclub Space. DJ giants like Carl Cox danced on top 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 island of Ibiza by storm, remixed Billy Nichols' "Give Your Body Up To The Music" (a Garage anthem); got nominated for a Grammy (for his remix of Depeche Mode's "I Feel Loved," also nominated for Best Dance Song); returned to Twilo for two special gigs - a President's Day marathon with Carl Cox that shattered all its attendance records, and the club's sixth anniversary party with John Digweed, which turned out to be even more meaningful than it seemed at the time (Twilo was shut down permanently a week later); graced the cover of every major dance music magazine; and won a Dancestar Lifetime Achievement award... all while keeping Be Yourself buzzing every Friday. 

In 2003, Danny came full circle with the release of Choice: A Collection Of Classics, a two-CD mixed compilation that let him pay direct tribute to many of the artists who had influenced his sound and style. It featured everyone from Blaze to Adeva to Imagination, as well as hefty liner notes explaining the significance of each track, penned by the man himself. He also remixed another Garage classic (Yoko Ono's "Walking On Thin Ice," which became her first Billboard number one ever), opened another Space during Winter Music Conference (the new location down the block), and took another Dancestar award, this time "Best Party" for Be Yourself. 

Be Yourself took the same honor again in 2004, but this time the win was bittersweet. At the time of the ceremony, Vinyl, now called Arc, had already been sold to developers. Danny closed the classic club on Sunday, April 25, 2004, with an emotional set that lasted well into Monday afternoon, and culminated with his mix of Kings Of Tomorrow's paean to unending love, "Finally."

And as in every year since his DJ odyssey began, all across the globe, from Acapulco to Tokyo, more people experienced their first night with Danny Tenaglia, that clubber rite-of-passage that forever changes how you listen to music, go out to nightclubs, and think about DJs. 


हरे कृष्ण हरे कृष्ण कृष्ण कृष्ण हरे हरे 
हरे राम हरे राम राम राम हरे हरे

Amir Telem is a visionary artist who combines organic house, progressive, and melodic techno with a narrative and emotional approach. 

His music, released on prestigious underground labels, has received support from artists such as Solomun, Nora En Pure, Artbat, and Nick Warren, and has been played at top-tier international clubs and festivals, including Burning Man, 3000Grad Festival, Space (NYC) & Maze (TLV). 

Beyond the dancefloor, Amir brings a unique sensibility derived from his training as a yoga and meditation instructor. This spiritual dimension is reflected in his sets and productions, creating soundscapes that deeply connect with audiences. 

With this unique background and ongoing intense work, both musically and spiritually, Amir Telem has established himself as one of the most authentic and versatile voices in electronic music today.

Amir signed his music with the following labels:

Black Hole Recordings 
Armada Albums
Global-Underground
Siona 
IAMT
Perfecto
Phobiq 
Steyokoke 
Timeless-Moment
Outta-Limits 
The Soundgarden
Bar 25
Beatfreak
Reload Black
ZEHN
Sudam
Go Deeva
HMWL
Click
EIN2
3000Grad
Kindisch
UV 
Area-Verde
Mango Alley

USA: Aurora Talent
s@auroratalent.agency

Resident @vyvn

Celebrating collective effervescence since 2011.

Residents:
@julianconnor
@alexanderlouisnyc

Carlos Mélange Bio
Sneaking around your job after hours isn't a normal avenue for deejaying success. But when your career has ascended as quickly as Carlos Mélange's, there's no such thing as "normal."
When Mélange, then a 20-year old employee at a local Long Island restaurant, learned of an open deejay spot at a club the manager was opening, he jumped at the chance despite little—okay, zero—experience. "For two weeks straight, I would stay after the place closed and sneak into the DJ booth to teach myself how to mix and blend songs," admits Mélange. "I'd hide in the booth, wait for everyone to leave, and start rocking out."
While getting his first taste of the deejay life, Mélange postponed working the decks in favor of dancing, club promoting and emceeing, the latter his ticket to local fame as the go-to emcee at myriad clubs. "I knew in 2002 when I was emceeing a New Year's Eve gig in front of 3,000 people that I thought 'I want this,'" says Mélange. "I love being on stage and being able to control peoples' emotions. It was such a high and when I started deejaying, it took a hold of me and it wasn’t a question of whether I wanted it or not. It just took over."
Flash forward to 2007, when Mélange gave up all other gigs and focused on deejaying full-time. Despite being a relative newcomer, Mélange has already amassed an enviable résumé, having already rocked successful residencies at Tenjune, SL, Butter, Mixx at Borgata and Miami's Fontainebleau. In March, the fledgling deejay opened and closed for none other than Tiësto, handling the nerve-wracking gig with ease. "When I started, everyone stopped walking towards the door, ran back to the stage and started chanting 'Tiesto, Tiesto' thinking it was him," says Mélange, laughing. "But I started rocking it and kept most of the people there." The next day, the event's Facebook page was flooded with questions along the lines of "Who deejayed after Tiesto?"
With veteran deejays Vice and Chachi as mentors, Mélange's name is now mentioned among people that have been at the craft three and four times longer. For Carlos Mélange, deejaying is not sitting on top of a mountain, decreeing your tastes from on high. It's about constantly interacting with your crowd and ensuring they're as happy to hear you as you are to spin. "I love being able to go to cities and see people I've only known a few months, but feel like I've known my whole life," says Mélange.
In May 2010, Mélange released The Mélange Project: Volume 1, a 70-minute mix of electro, pop and progressive house that combines hidden gems with familiar classics. "If a deejay was spinning at a club and his computer crashed," says Mélange, "I want him to be able to put this mix on at any point and rock a crowd." Eschewing an overreliance of studio trickery and technological gimmickry, The Mélange Project replicates the deejay's enthralling live sets while still showcasing Mélange's expert ear. "I'm not a fan of hearing
a deejay's mix and then hearing him live and going, 'What the hell is that?,'" says Mélange. As one of the only deejays equally adept on a microphone as a turntable, Mélange can rightly lay claim to a skill most deejays can't even begin to garner.
With more residencies and The Mélange Project: Volume 4 in the works, Carlos Melange is only beginning his career as one of the nation's most in-demand deejays. His goal is simple: "I want to make people feel something," says Mélange. "I'm on the cusp of doing extraordinary things and I can't be more excited about life."

Chaim Fishof is following