 Motivated to do more than simply listen, Teddy purchased her first set of turntables in 2010. Using her limited equipment to the best of its ability, she practiced relentlessly to perfect her skills. She found her tastes rapidly diversifying into almost all genres of electronic music but most particularly Drum and Bass. 
After Teddy teamed up with Santa Fe's renowned Dead Dub Society, things... really took off and her interest in the art of mixing surged. Crowds were immediately drawn to her charismatic energy and her unique sound and style. 
Teddy's upbeat dance mixes can be described as uplifting, high energy, with a heavy beat-driven tempo. Teddy's charming energy-evoking personality is regarded by many as being contagious.
As her mixes and live DJ performances grow in popularity, the demand for DJ bookings has kept her on her toes. She continues to rock the dance floors of local bars and dance clubs, raising the bar each time and continually striving to master her own style which separates her from the rest.
Plugged into a network of forward-thinking artists and unimpressed with the city's "club scene", Teddy is currently working with a group of fellow artists, promoters, and producers to create and organize a "revolution" for the diverse styles of Santa Fe's music scene.
Beyond her desire to continue with her successful DJing career, Teddy also plans on eventually using her vast music knowledge and experience to produce her own music.

"Music is a universal way of communicating to the soul, and when one possesses that unique emotion-evoking ability, it should be shared with the world" 
-Teddy No Name ♥
 

'wether ritualized or not, art contains the rationality of negation. in its advanced positions, it is the great refusal- the protest against that which is. the modes in which man and things are made to appear, to sing and sound and speak, are modes of refuting, breaking and recreating their factual existence. but these modes of negation pay tribute to the antagonistic society to which they are linked. separated from the sphere of labor where society reproduces itself and its misery, the world of art which they create remains, with all its truth, a privilege and an illusion.'
herbert marcuse

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. 


Creating a Creative workspace for artists to utilize in exchange for volunteering in our Community ~ Attaining our Desires while assisting Others 
Hour for Hour

The London affiliate of DHA featuring weekly exclusive mixtapes, premieres, free downloads, and label showcases from the best in the world of underground dance music.

SOUNDS FROM THE GROUND

UK duo Elliot Morgan and Nick Woolfson make some of the most stunningly rich, dynamic, bass-heavy downtempo instrumentals on the planet. They are pioneers of ambient dub, an exotic style first championed by defunct UK label Beyond Records and then picked up and continued to this day by North American label Waveform. Although dub in its original form is the tripped-out instrumental flipside of reggae, there is quite often no overtly Jamaican flavour to Morgan and Woolfson's work. The dub element is more in the recording techniques (looping, echo, etc) and lovingly produced basslines that rumble, slide and snake their away around the room with enormous presence. Neither is the duo's take on dub the minimalist approach of modern purists. They concoct soulful, exotic and tuneful widescreen panoramas, wound together with muscular rhythms and big, crisp drum loops that sometimes have a tribal or ethnic edge. Rhythmic downtempo from the psychedelic trance scene owes quite lot to these guys: listen and learn.
Sounds From The Ground don't really belong to any decade or period save an electronic one. Their albums still sound as vital as the day they were released. Any sounds the duo took in from clubland or other circles over the years seems to have been readily absorbed into their arsenal to be used as needed, not because they were trendy at a particular time. Put SFTG's albums on your stereo, crank up the volume and prepare to be moved!

Rooz DJ/Promoter for San Francisco's Deep Blue Events and producer for Blue Orb records with partner Bardia F with tracks played by Stacey Pullen, Marco Carola, Pirupa, etc. Music style is late night trippy house, driving techno/techhouse and funky house grooves. With regular residencies and appearances at San Francisco’s house music nightclubs since 1999, Rooz is known for playing underground warehouse parties and warming up the dance floor for the likes of Marco Carola, Loco Dice, Stacey Pullen, Dubfire, Derrick May, etc

Saul Hoffman is following