Hani (born Hani Adnan Al-Bader) is a Kuwaiti / American record producer and remixer based in New York, notable for his restructurings of hits by artists ranging from Michael Jackson to Alicia Keys, as well as his original productions. His 1999 release, "Baby Wants to Ride", reached number 1 on the US Billboard Hot Dance Music/Club Play chart. His work has led to a collaboration with DJ Frankie Knuckles, as well as vocalists Jason Walker, Andrea Martin, Faith Trent, and others. History In 1984 Hani back home in Kuwait was a bedroom DJ recording mixed cassette tapes. By 1988 during his college years in Denver Hani became a professional DJ at several major clubs. Saved enough money to purchase used Synthesizers, Drum Machines and 4 track tape from pawn shops. Hani learned on his own the art of making Electronic Dance Music and was able to release few underground records. In 1993 Hani got his start doing underground Acid House tracks for Carl Craig's Label Planet-e & Deep Dish's label Yoshitoshi. Soon after Hani decided to go to New York to study audio engineering. By 1994 Hani was enrolled in the Institute of Audio Research in New York City. There he gained knowledge of the fundamentals of audio acoustics, electronic circuitry, engineering and mixing. While attending the institute Hani applied at Bass Hit Studios for an intern job. It was at Bass Hit Studios that Hani acquired a deeper sense of Electronic Dance Music by working for such House music luminaries as Masters at Work (Little Louie Vega & Kenny Dope), Roger Sanchez and Danny Tenaglia. Hani cleaned the studio after them, picked up the garbage and delivered food however, he also learned the basics of House arrangements and mixing. While doing so Hani started his remix career working on projects for Artists such as Deee-Lite, Repercussions & Urban Soul. The competition in New York City was very high and Hani had to quickly make a name for himself therefore, he did not follow the rules. He did not wait for record labels to give him a chance at remixing songs he liked. He chose songs he gravitated to and went on to produce his remixes in his studio without being commissioned. His 1995 unauthorized remix of Sade's “I Never Thought I’d See the Day” under the alias Musk Men got him the exposure he’d been waiting for. It was