Interview with Mike Macharello, by Jacob Arnold

We had the opportunity to interview Mike Macharello, owner of Play House Records.

Mike also happens to be on the list of Chicagos 100 most influential house DJs, owner of Let’s Dance Music Pool, BOI Magazine, and founder of Circuit Night Club. Here’s what Mike had to say about his start in the music business....

Interview in part by Jacob Arnold - Gridface The 100 Most Influential DJs Of Chicago House Music (1975-1995 ) Alan King Andre Hatchett Anthony Nicholson Armando Armando Rivera Bad Boy Bill Ben perez Bobby Q Bobby Boo Williams Brett C. Morrison Brian Frazier Brian middleton Brian Reaves Byrd Celeste Alexander Chip Veasly Chris Underwood Craig Alexander Craig Cannon Craig Loftis Czr Dana Powell Derrick Carter Diz Dj JMJ Dj Pierre Dj Reg DJ Rush Dj Val E Smoove Edward Getdown Cosby Emanuel

Eric Et Taylor Eric the Wiz Farley Jackmaster Funk Fast Eddie Frank Cano Frank Sells Frankie Hollywood Frankie Knuckles Gary Baxter Gary Wallace Gene Hunt Glenn Underground Greg Gray Greg Winfield Herb Kent Hugo H Hula Jamie “3:26” Lust Jeff Pazen Jerry Marzette Jesse DeLa Pena Jesse Saunders Joe Smooth John Curley Julian Perez Jungle George Suarez K’ Alexi Keith Fobs Kelly G Kenny Jammin Jason Kenya Lenoir Kevin McSwain

Khris Henderson Raye Kurt Townsend Lee Collins Lego Leonard Rroy Lidell Townsell Lil Dex Lil John Lil Louis Little Boo Lono Brazil Lori Branch Lou Devito Lugo Rusado Mark Farina Mark Grant Martin Luna Matt Warren Maurice Joshua Michael Winston Mickey Mixin Oliver Mike Brown Mike Dunn Mike Ezebukwu Mike Hitman Wilson Mike Macharello Mike Serafani Mike Williams Oscar McMillian Paul Johnson Petter Lewicky Pharris Thomas

Pink House Pyscho Bitch Quick Claude Ralphie Rosario Randy Jones Ray Jones Richard Green Rick Lenoir* Rob Thurman Ron Carroll Ron Hardy Ron Trent Roy Davis Jr. Sadar Bahar Sal Amato Scott Smokin Silz Sneak (Dj) Steve Miggedy Maestro Steve Silk Hurley T Chablis Terri Bristol Terrible Ted Terry Hunter Terry James Terry Mac Tim schommer Tony Cano Tony Hatchett Tyree Cooper Walter Get Down Brown Wayne Williams Xavier Joshua

I would like to specially dedicate this interview to my mother Lorri and my sister Tammy for being there, working and helping right from the beginning of my journey.

Also to Patrick and Jorge for their every day dedication and loyalty. JR, Dan & Robert, Gus Redmond, Darrell whom all helped and believed in me. Without them and the many people along the way, much of what I have been able to accomplish wouldn’t have been possible.

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Mike

What is your occupation?

I will always consider my profession as a radio and club DJ. My formal education was from Davea Technology Center in Addison, IL and from the Midwestern Broadcasting School in Chicago. however I am also the founder of Circuit Night Club. I’m also the publisher of boiMAGazine. I don’t believe that those job titles define who I am, but instead, I consider those respective businesses a creative expressions of my occupation.

Did you grow up in Chicago?

I grew up in the suburbs of Chicago. When I moved to the city, I contemplated in which direction I should go with my career. Growing up in the Midwest, and having supportive parents who wanted more for their children than what they had growing up, I felt blessed, and felt that I had a good start in life. I appreciated having a good educational foundation, shelter, food, health, transportation, music. I was especially happy to have DJ equipment, and that I could take care of myself financially with DJ jobs.

However, I realized early on that acquiring more material things wasn’t my strongest desire, so I asked myself "if that is the case, then what direction should I go in and what direction would ultimately make me happy in my life?"

Ultimately I felt that using my talents and abilities to make others happy would make me feel a sense of accomplishment, so I started there.

Is the American Dream to have everything?

I believe having everything is fine as long as it isn’t at the expense of others.

I thought about that question a lot, and came to the conclusion that capitalism works best when you can use the opportunities available to you to accomplish something of importance in your life. My grandparents on my mothers side came over on the boat from Italy to give their children a better life. My parents worked hard to give me a better life. Now, I had an opportunity to achieve a greater sense of purpose. I think the first challenge for me and many others is figuring out what that “greater sense of purpose” is supposed to be.

Interview with Mike Macharell

What inspired you to become a DJ? As a teenager, I used to listen to the radio at every opportunity. I became friends with a radio DJ named Captain Whammo on WDHF-Chicago, which later became WMET. I would call into the radio station for a nightly segment called The Whammo Line. Captain Whammo would speak with listeners on the air.

He would announce, “The Whammo Line is open,” and people would call in to the radio station. I called the station so often that Captain Whammo eventually named me as his Whammo Reporter. I first met Captain Whammo in person, who’s real name is Jim Chanell, at a remote-gig. Later he invited me to the radio station on Michigan Ave. in Chicago. I would watch him at work on the air and sometimes answer his request line. Looking back now, I was in the presence of a true master of his art, and I believe this is what inspired me to become a DJ. At such a young age, it was pretty amazing to be hanging out at a major Chicago radio station, with one of the top on-air disc jockeys.

What happened after that?

Jim was DJ Captain Whammo by night and a teacher at the Midwestern Broadcasting School (MBS) by day. I took a real interest in radio and from that came my desire to become a DJ. Jim encouraged me to attend MBS, I did and I graduated with the intention of becoming a radio DJ. However, after taking the course, I realized that most big-market radio DJs were just voices, and that they didn’t actually play their own music.

Typically, a stations program director gives the DJs a playlist to work from.

I discovered that in order to be an on-air radio DJ, I would more than likely have to move to any city that had a job opening, playing whatever type of music the station format was. To me it was too restrictive, also the thought of having to leave Chicago didn’t appeal to me at all. At the time, there were only one or two stations in larger markets that were even of interest to me, and of course there were no guarantees that I would get a job at any of them.

The radio business seemed kinda tough, with a lot of DJs looking for work and with only a limited number of good on-air spots across the country.

Basically, in that field of work, unless you knew somebody or were super good, you would have to take whatever job you can get.

Interview with Mike Macharello

(Cassettes are linked)

WMET RADIO CHICAGO 1978 CAPTAIN WHAMMO AIR-CHECK

CAPTAIN WHAMMO WMET Radio Remote

WMET RADIO CHICAGO 1978 WHAMO REPORTER, WHAMO LINE

How did that lead to you working in the clubs?

I liked many genres of music, including pop and rock and was starting to develop a real interest in R&B and dance music. At the time, everybody was capitalizing on the disco craze.

Disco music was hot and everyone was jumping on the bandwagon, which in turn created a larger demand for DJs. Even restaurant owners were installing dance floors with a mirror ball and lights. With discos popping up all over, it was a great opportunity to get a DJ job and to stay

in Chicago. Being a DJ at a club where I had control over what was played and where I could instantly see a reaction to the music I was playing, was very exciting. When I first started DJing, I didn’t know how to mix the music together on beat, but I discovered I could entertain a crowd by playing the music and songs that they wanted to hear. Most owners at the time looked to the DJ to help attract people to their venues and to get the party started. It was the era when disco and dance music was at its peak. Pop radio was playing disco and record companies were pumping out new disco dance records every day. I joined a record pool and received at least twenty or more new 12� disco dance records every week. Even popular rock bands like Kiss and the Rolling Stones put out disco singles and jumped in on the craze.

What was your first club experience?

The first club I ever went to was called the Galaxy Disco in Addison, IL, a suburb of Chicago. It was inside of a large a bowling alley complex and was it was a very popular adult disco with a teen night on Sundays. The club had a traditional silver and black disco-decor look, and their dance floor was in the center of the room which featured a mirrored ceiling and dry ice fog coming out of it. The dance floor lit up like the galaxy with planets, moons, stars, and other galactic shapes and colors. Scott Adams was their resident DJ and he impressively mixed songs together with 2 Technique 1100 turntables. I discovered later that he had perfect pitch, so his mixes were always in key and his overlays sounded perfect.

I remember hearing “MacArthur Park” by Donna Summer and “Macho Man” by Village People there that were big hit songs at the time.

What was your first job?

I worked a summer job at the Medinah Country Club as a busboy and that job didn’t go so well for me. The next summer I applied for a job at Adventureland, an amusement park near where I lived. I worked there a few seasons in the game court, I also worked as a ride operator. Adventureland was another business that jumped on the disco bandwagon. They converted an existing band-stand into an outdoor disco with a female DJ on stage and featured dance lessons. One day while working near the band-stand, I couldn’t help but hearing the music coming from the speakers. The DJ was playing the LP record version of KC & The Sunshine Band’s “I’m Your Boogie Man,” which mixed into “Keep It Comin’ Love.” I was used to the radio edit and it was the first time I ever heard an extended version of a song, let alone one that mixed into another song. I was intrigued by the concept of extended versions because I only heard songs on the radio that were short. Another song that caught my attention was “I Feel Love” by Donna Summer. The song was so mesmerizing and sounded so good, that from that moment on I knew I wanted to be a part of whatever sound that was coming from those speakers!

(Images are linked)

Interview with Mike Macharell

How did you get your first DJ job?

My first DJ job was at the Hollywood Disco. The Hollywood was a teen disco, when I applied they already had several resident DJs. The owner said to me that he was going to open on Sundays for a new “Family Disco” night, and said that since he’s just starting it, he didn’t know if he was going to use his other DJs. I told him I would work for free to help him out. He jumped at the offer. Unfortunately the first day nobody showed up. On the up side, it turned out to be a great opportunity for me to play with DJ equipment for the first time. Another good thing was the owner had nothing else to do every Sunday but just to sit at the door waiting for people to come in and listen to the music. He must have liked what I was playing because whenever a DJ called in sick, he would call me to fill in. So within a few short months he fazed out the other DJs and I was the only DJ there.

What happened after that?

The person who installed the sound system at Hollywood Disco was also a manager of an adult club called The Stay Out All Night Discotheque in Stone Park, IL. Since the manager of Stay Out knew me from Hollywood, he hired me to fill in for a few days when their DJ went out of town, after that it quickly turned into a regular DJ gig for me. A few years later I worked at McGreevy’s in Glenview, another suburban adult club that also had a successful weekly Sunday teen night.

I enjoyed working there because it was like going to a club-mall, with three night clubs under one large roof. When you entered the club, you could either go into to a live rock & roll band room, in a country and western room or into a large dance club area with an incredible sound and light system.

What types of music were you playing?

I played everything! Artists ranged from Donna Summer to the B-52’s. I played disco, new wave, punk-funk, R&B, you name it. I even slipped in a few classic rock songs that could be mixed with dance music. People loved to hear rock songs at the club because it was so unexpected. I got huge reactions because they were such big hits on the radio but not really played in discos or dance clubs.

HOLLYWOOD DISCO, HANOVER PK, IL

DJ SET BY MIKE MACHAELLO 11-25-81

Interview with Mike Macharello

HOLLYWOOD DISCO COMMERCIAL

ON WDAI (DISCO-DAI RADIO)

(Cassettes are linked)

MIKE MACHARELLO At Hollywood Disco

Mike at Hollywood with Disco DAI Radio DJ Danae Alexander eating pizza (above) WXFM Radio DJ Herb Kent (below)

Interview with Mike Macharell

Mike at Hollywood with WXFM Radio DJ Herb Kent (above)

What were the crowds like back then?

At Hollywood Disco, it was an underage crowd and very diverse, mostly white, black and Hispanic. One night, legendary radio DJ Herb Kent came to visit me at Hollywood Disco and was shocked to see the “black kids” as he called them, dancing to “Rock Lobster” by the B-52’s. He was the one playing the song on the radio, so they knew it very well. They would fall to the floor and in the middle of the song when it came to the part where they say, “down, down, down.” I had the crowd trained to drop, because every time I played the song I got on the microphone and told them to go down, then I prompted them to jump up when the song kicked back in again. It was a lot of fun! The Stay Out All Night Disco was an adult, mostly white crowd, who loved to drink and dance to all type of music. I was underage at the time, so it was all new to me. Back then I didn’t even know what a rum & coke drink was. Regardless, I was working almost every night at the disco until 4am.

Debbie Jacob’s “Hot Hot, Give It All You Got” was the favorite song at the time and everyone would do a line dance to it. Kool & the Gang’s “Celebration” was a big hit there too. I had so many request for those songs, I had to play them at least twice every night.

Did you make your own edits?

Yes, but I did everything live with two turntables. Of course I would have loved to have had the editing tools and the features available on the equipment now. Back then DJs did a lot with two turntables. Most songs had only a vocal mix and if you were lucky, an instrumental mix. Later came dub mixes and acappellas that were added to some 12” records. All music was on vinyl, so making the perfect transition from one song to another wasn’t always easy. Many songs had horrible intros or no intros at all, which made them extremely difficult to blend together. Producers in the early disco days used a real drummer, so the timing on the records wasn’t perfect and that made songs more of a challenge to mix together.

How did radio play a part in your club career?

Now that I look back on it, I suppose instinctively did a “work-around.” Not only did I get to stay in Chicago by working as a DJ in the clubs, but my mixes were being played on the top Chicago radio stations: WDAI, WXFM, WBMX, WGCI, and WVON. By playing my mixes on those stations, I got the chance to do what I enjoyed the most, selecting the music. DJs in clubs are both DJs and program directors. You get instant reactions and that helps a DJ develop a skill of playing what people want before they ask for it.

WDAI RADIO CHICAGO 7-18-79 MIKE ON ACTION TRAX

WDAI RADIO CHICAGO 8-14-79 MIKE ON ACTION TRAX

Tell use about your musical background.

Other than growing up listening to music on the radio as a teenager, I was pretty much a self-taught club DJ. The skills I developed as a DJ have been extremely useful and translatable to many aspects, even bartending. One year I attended Bartending School while taking a break from DJing. Bartending School taught me people skills, professionalism and of course how to make a drink. If you learn how to mix and blend music, then you can just about mix and blend anything, including drinks. Most of the basic principles of mixing can apply to any situation. Interestingly enough you can even mix people.

Mix-in the good ones into your life, and mix-out the bad ones, to create the perfect “blend” for yourself. Other examples are that if a job, a friendship or even a relationship isn’t working, then you do the same thing a DJ would do if a song isn’t working on the dance floor, simply mix-out the bad and mix-in the good!

Anything else you’ve learned from being a DJ? Yes, as most DJ have, I’ve learned and developed a sixth sense of energy.

Usually DJs can distinguish the different energies on the dance floor and can instinctively guide the music to whatever direction they choose to take the crowd in, or know when to just go with the flow of the of the crowd.

When did you start the Let’s Dance Music Pool?

I started Let’s Dance with a DJ friend Charles Perkins after the record pool Dogs of War closed. At the time, I was one of the record pool directors for Dogs of War and had all the contacts of record labels and DJs. Naturally I felt it necessary to fill the void for the DJs when they abruptly closed their doors.

What other DJ record pools were in Chicago at the time?

There were Dogs of War, Audiotalent, and Independent Record Services (IRS). IRS was a great source for many DJs to get music from. There was no internet back then, so DJs had to be a member of a record pool to get the latest music directly from the record companies, even before it hit the stores. Besides the IRS, owner Paul Weisberg developed and established Imports Etc., a noteworthy record store that catered to the DJ and fueled the fire for the Chicago house music explosion.

WDAI LIVE REMOTE 1979 AT HOLLYWOOD DISCO

HOLLYWOOD DISCO, HANOVER PK, IL

COUNTDOWN-MIKE MACHAELLO 1980 (TAPE WARPED - BAD QUALITY)

Having fun at Hollywood breaking records, literly Pictured Right, Sue (Light Jockey,) playing around with her mittens (below) Hollywood's Halloween Costume Party

Photographs from the Hollywood Disco

14 Interview with Mike Macharello

WGCI RADIO MAESTRO MIX 7-14-84

BY MIKE MACHARELLO

WGCI RADIO DJ EVAN LUCK’S PROGRAM MAESTRO MIX BY MIKE MACHARELLO

WBMX RADIO MIX 1981

BY MIKE MACHARELLO

WGCI RADIO YAZ-REMIX

BY MIKE MACHARELLO

WXFM RADIO CHICAGO 1981

MIKE’S SPECIAL HEARTBEAT MIX

WXFM RADIO CHICAGO 1981

MIKE MACHARELLO - TELEX MIX

(Cassettes & images are linked) 16 Interview with Mike Macharello

Why did you decide to start your own label?

For many years I did mixes and one song remixes on Chicago radio stations WXFM, WBMX, WGCI, and WVON. When I was a hot-mix DJ at WGCI, I had a hard time convincing the program director to play Soulsonic Force’s “Planet Rock,” one of the biggest club songs at the time. WGCI allowed me to make single-song remixes that would be broadcast as on air as “exclusive-mixes” during certain times of the day. So with a friend’s help on keyboards along with some special effects, I had reworked the song and gave it to the station as one of my remixes. The remix of “Planet Rock” became so popular on WGCI, that it instantly went into regular rotation and stayed in recurrent for almost three years. The success of that remix and several others I did, like “Situation/Don’t Go” by Yaz, got me thinking that I could record my own original material, since I already had the means to get it exposed. I thought running a record label would be easy but reality soon hit that it was a huge responsibility, both physically and financially.

However, I learned a lot from the experience.

What was your first single?

“Crazy Or Not” released on the Let’s Dance record label. I started Play House Records soon after so the record company would have its own identity aside from the Let’s Dance Music Pool.

When did “Crazy Or Not” come out?

It was in 1984.

Who was Mike Tomaselli?

Mike was a friend of Duane Thamm, Jr., and Duane wrote and arranged the music. Mike wrote the lyrics and I produced it. Duane and I mixed “Crazy Or Not” together in Gerim Studios. It was somewhat influenced by Lisa’s “Jump Shout,” a hot song in the clubs at the time.

Tell me about “Single Girl.”

Knight Rider was one of my favorite TV shows at the time and I loved the theme song. I asked Duane if he could create a similar bass line and melody to put to a dance beat. After laying the tracks, we gave it to another friend of Duane’s and she wrote the lyrics, and her sister, named Sedina, was the vocalist. To promote it, I gave “Single Girl” to all the DJs to play, but most of the credit for the song’s success goes to Farley “Jackmaster” Funk for playing the song in his WBMX mixes. He made the song a hit.

PLAY HOUSE RECORDS CATALOG & LINKS AT END

What studio did you use?

I did mixes for Jerry Simms who owned a record company and studio called Gerim Studios in Chicago. It used to be the legendary Chess Studios on south Michigan Ave. Being on the radio gave me opportunities to branch out into mixing and remixing original music from master tracks. Duane and I worked together on dance mixes for Gerim Records in return for studio time for our own projects. Gerim eventually closed and Duane bought the equipment from them to build his own studio at his parents home. After that worked out of Duane’s studio, which was much more convenient for both of us.

The first song I ever mixed was at Gerim Studios for Jerry Simms. Back then studios would mix a song down to a 2-track tape, usually in one pass and stopping the tape was to do edits was unheard of. When I did my first studio mix I stopped the song at least 50 times, recording different segments that I would later edit together. After mixing for a little while, I looked up I noticed that everyone in the studio was watching me and they had this look of horror on their face. I pulled out my razor blade and editing block, then started edited all the pieces of the two track tape together, leaving a big pile of tape on the floor.

Everyone still had looks of horror on their faces until we finally played back the edited song. There was this sudden reaction of relief and disbelief, fortunately for me, they really liked the re-mix.

What kind of equipment did you use for your songs?

Typically we would use a multi-track Teac recorder, which was about the size of a washing machine. We used the Roland 707 drum machine and a 808 rhythm composer for most of our song tracks. Duane was a musician and had many keyboards including a classic Minimoog and a few other keyboards like the Harp and the Clavinet that were used on the songs.

STAY OUT ALL NIGHT DISCO, STONE PK, IL

DJ SET BY MIKE MACHAELLO 3/81

(Cassettes are linked) 18 Interview with Mike Macharello

(Images are linked)

WGCI RADIO MAESTRO MIX 5-12-84

BY MIKE MACHARELLO

WGCI RADIO MAESTRO MIX 7-7-84

BY MIKE MACHARELLO

WXFM HERB KENT’S RADIO PROGRAM

MIKE’S HEARTBEAT MIX 5/81

20 Interview with Mike Macharello

How would you describe the music at the time?

Coming off the disco era, music went through a transition to simpler tracks with the advent of drum and sampling machines. It was the beginning of a new era where producers didn’t need a full orchestra to make a dance song. Even DJs could create songs with a drum machine and a few samples. Of course, in Chicago some of the DJs were creating their own tracks to play in their clubs and on the radio in their mixes, which made them very popular.

How many records were you pressing for each release?

I pressed as little or as much as the demand. Initially I had to press a lot of copies to get the releases in all the record stores. As orders came in, I would press additional copies until the demand died down. The problem was that the demand would be high at first, I would press more records to fill the store orders, then the demand would suddenly drop and the stores would eventually return what they didn’t sell. Needless to say, a lot of records got returned and it became difficult to break even financially. These days companies now are able to sell their music on sites like iTunes and Beatport. It’s good because the song is available everywhere right away and indefinitely, whether it sells or not.

How were you distributed back then?

I used many different distributors across the country. In Chicago I used several distributors and for a long time Play House Records was distributed through Sunset Records, which was another Chicago house label that set up its own distribution company. As outrageous at it may seem now, I needed at least one distributor in every city to get the product in all the record stores. Eventually we did our own distribution.

What percentage of records went overseas?

I had distributors who exported the labels product to many countries around the world. The biggest export and licensing deals were with record companies in England, Germany and Spain. I actually sold more records in London than in the US. The fact is, licensing the music to labels overseas was the only thing that made the label profitable. I'm still receiving licensing requests for Play House's catalog overseas.

Did you do any promotion?

Yes, I serviced many record pools, Billboard reporters, club DJs, radio DJs and radio stations across the United States. It was on vinyl and they were sent through the mail or personally delivered, It was hard work!

Interview with Mike Macharell 21

What record are you proudest of?

“Single Girl,” since it seems to still be in demand, however, my personal favorite is Denise Motto “IMNXTC.” There are a lot of other songs that are personal favorites, such as Crystalite’s “Cut By A Lazer,” Holly Oas’ “Plastic Doll,” Serious House Mixer’s “Tell Me,” and Knight Action’s “R-U Ready.”

Why did you stop releasing records?

Everyone, including major labels started releasing house music or house mixes. The market got flooded and unfortunately this caused the demand to go down. Also producers in London started creating their own style of house music and some overseas labels no longer needed to turn to Chicago for their house music fix. However, there has been a lot of recent interest to release music on the Play House Records label again. I recently released the "Belch Song" by It's Filthy. I wasn't really a song at first. One day I was going through my old tapes, I discovered this track with belches on it. It was hysterical, and I remembered that I was practicing samples on the drum machine, but I didn't have any sound-source to use, so the next best thing was a belch. It was never intended to be a song. But after listing to it, I thought I'd release it as a joke.

WXFM HERB KENT’S RADIO PROGRAM

MIKE’S MIX W/HEARTBEAT 1981

WXFM HERB KENT’S RADIO PROGRAM

MIKE’S ON-AIR TELEX MIX 1981

(Cassettes are linked) 22 Interview with Mike Macharello

WXFM HERB KENT’S RADIO PROGRAM

MIKE’S ON-AIR MIX 7-13-81

WXFM RADIO CHICAGO

MIKE IN RADIO COMMERCIALS

(Images are linked)

24 Interview with Mike Macharello

Do you remember the first time you heard the term “house”?

Yes, it was a term that referred to the music that Frankie Knuckles played at the Warehouse where he was the resident DJ. People used to call the Warehouse “the house” for short, and the music he played became known as “house music.” Many of songs heard at the Warehouse were released on the Salsoul label, and this, in my opinion, was one of the roots and original forms of “house music,” that best can be described as “soulful disco.” Frankie would remix and create longer versions of the songs on reel-to-reel tape and then play the extended dance mixes at the Warehouse. Eventually the term “house,” or later “Chicago house,” evolved to mean the music Chicago DJs and producers were creating with their drum and sample machines.

One thing worth mentioning is that after the disco era many record companies were putting out a lot of music that nobody really wanted to hear, so Chicago DJs tried to fill the void first by buying Euroimports, and then later some DJs started creating their own tracks to play. After that, then the tracks were simply referred to as “house music” and the rest is histrory!

What clubs did you used to go to?

I used to frequent the original Bistro on Hubbard Street, in Chicago.

I also I went to New York clubs such as Studio 54, Sound Factory and Twilo, Paradise Garage, The Saint and Better Days. These are the ones I really enjoyed going to, but I went to almost every club in Chicago and visited most of them in New York and Miami. I must say that the moment I stepped into the original Sound Factory, I instantly felt at home! The sound system was amazing and the DJ was doing amazingly creative things with the songs. Back then I had no idea who Junior Vasquez was, but while listening to his music I was mesmerized.

The whole experience was truly inspirational. The sound was so crisp, clean, deep and hard, it was like nothing I ever experienced before.

The music seemed to come alive and it actually energized me. It was the first time I experienced the full sensory experience of music, sound and lights combined with talent and creativity of the DJ. Of course I was in heaven and knew it was special. The experience had a profound effect and help me decide what I wanted to do in my life, and that was to make available and provide that experience to others, especially in my home town of Chicago where there was nothing even comparable.

Interview with Mike Macharell 25

I understand that you are the founder of Circuit Night Club?

Yes, I opened Circuit in 1997 for two reasons. The first was very practical. I used to throw after-hour parties at a loft and City officials eventually visited me and politely "suggested" that if I wanted to continue throwing parties, I would need to do it as legitimate business, with the proper licenced facility. The second reason was more personal. I felt that I could fill a void by opening a night club that focused on the quality of music, and on creating a positive connection for people in the scene, much like I experienced at Sound Factory/Twilo. The name “Circuit” came from a place you could go to make a positive connection. People connect in many ways, and music is the one connection that transcends race, sexuality, status, age, and all those other “-isms.”

Circuit has reached out to a diverse crowd over the years and made everyone feel welcome within the club scene.

It has been rumored that you bought Twilo’s sound system when it closed. Is that true?

Yes, it’s absolutely true (see youtube video.) I hired the sound company, Phazon, to install a new digital system at Circuit. Twilo was Phazon’s showcase sound system in New York and I never imagined that it would be available or even obtainable to me. I initially contacted Phazon when Twilo closed to see if I could purchase their lighting system from them, which I did. While I was making final the arrangements on the phone to pickup the lighting equipment, I was asked “so, why aren’t Video Link: Going to Twilo you taking the sound system, too.” The Twilo to pick up the Sound System owner said to me that he would like to see the lighting and sound equipment to stay together.

The phone nearly fell out of my hand, and I was for the first time in my life I was speechless! Before I even caught my breath, I was off to New York to pick up both the lighting and sound equipment.

Twilo’s lighting fixtures were immediately incorporated with Circuit’s and then we installed Twilo’s sound system a short time later when we remolded and soundproofed the club. After that, Phazon came to upgrade the processing equipment, tune it up and balance out the sound system. One of my fondest memories was when Junior Vasquez played at Circuit and commented to me that the room reminded him of Twilo.

26 Interview with Mike Macharello

Interview with Mike Macharell 27

What’s your vision for Circuit?

When I took over the other side of the building at Circuit for the club’s expansion and renovation project, it was just before the Sepember 11th disaster occurred and since then, the world had changed around me. My goal was to see the project through.

The architectural plans that I have were designed by very talented architects and several engineers and are amazing, it includes everything I hoped and dreamed for Circuit, and then some.

Besides the architects and engineers that it took to create the plans, that ultimately resulted in me receiving the permit to build out the club, the people involved also included long time friends, family members, city planners, alderman and even the landlord, not to mention the countless other people who stood by and supported me through the most difficult times.

The project is on hold until proper financing is obtained to make it happen.

You can follow the progress on Circuit's website at www.CircuitClubChicago.com and at www.facebook.com/CircuitClub.

PARADISE NIGHTCLUB, CHICAGO, IL

DJ SET BY MIKE MACHAELLO 1986

ROSCOE’S NIGHTCLUB, CHICAGO, IL

DJ SET BY MIKE MACHAELLO 5-13-94

ROSCOE’S NIGHTCLUB, CHICAGO, IL

DJ SET BY MIKE MACHAELLO1992

ROSCOE’S NIGHTCLUB, CHICAGO, IL

DJ SET BY MIKE MACHAELLO1994

Why did you start BOI Magazine?

Actually a friend of mine, Dustin Tyler, started BOI Magazine which was launched a the millennium. He asked me for financial support to get it up and running. I helped him because he had such a great concept and the community really needed a visually stimulating lifestyles publication.

Most of the publications at the time were printed on newsprint, but boiMAGazine was printed on very expensive high-gloss imported porcelain paper, which made it really stand out on the racks, but was incredibly costly to produce.

After almost two years in publishing, my friend had enough of the financial difficulties and told me to either take over the magazine or otherwise it would shut down. I didn’t want to see this great publication disappear and I had experience from a music publication I started called Chicago Music Magazine, so I took it over to continue his vision. The current issue of boiMAGazine and back issues can be found online at www.boiMAG.com.

Was boiMAGazine a sponsor for the Black & Blue Ball in Montreal?

Absolutly, when Dustin handed the business over to me, I inherited the sponsorship agreement boiMAGazine had with Black & Blue in Montreal. I attended the festival and several of the workshops that accompanied the event.

Did you learn anything at any of these workshops?

More than I imagined! One of the seminars I learned the most from was at the Health & Drug conference. It was first time I heard industry professionals openly discuss ecstasy, cocaine, crystal meth, GHB, and other recreational drugs. It was both honest and informative. They discussed the effects of MDMA (ecstasy) in its pure form and the potentially harmful effects it can have when mixed with other drugs such as PCP or heroin. The take-away for me was that drugs are not necessarily a bad thing but they are when abused or mixed together, then they can be quite dangerous. I wondered why this information wasn’t openly discussed in the United States. We were always told to “just say no,” but with no further explanation or discussion. When people first try drugs, it’s true they might have a very bad experience. But often people have a positive experiences and continue to use them. In the United States, there is no discussion on the benefits compared to the hazards of drugs. The truth is that any substance, depending on the amount you consume, can be good or bad for you. The same goes for other substances like alcohol, soda and even the food you eat. Basically it's anything you put into your body is either good or bad for you, and not every person is the same. It's good to be aware of what you are putting into your body.

Interview with Mike Macharell 29

So how does this relate to today’s club scene?

I believe that when armed with the correct information people will make educated health decisions that are right for them. One of the positions taken in the Health & Drug conference was that the club scene doesn’t need to be a dead-end street for people with alcohol, drugs that leads to self destruction. An argument was given that just because people are killed on the highway, doesn’t mean that the highways should be outlawed.

Certainly highways can be a dangerous place to drive without proper training, but millions of people use highways and expressways safely every day without accidents because they were educated on how to drive. There will always be casualties no matter what, but we need to learn what we can from the casualties and make improvements to better ourselves.

What do you think of Chicago’s dance scene today?

The scene in Chicago is the same as it is across the country, I believe it’s in a transition period and is getting ready for a rebirth. Technology and social networking has made meeting people in clubs almost obsolete.

You can shop online, meet people online and have sex online, so you never need to leave your house! The younger, internet savvy, generation will eventually discover the benefits of going to a club and that you can actually talk to somebody in person, dance to music with a live DJ, connect, and having real (as opposed to virtual) fun and enjoyment. It will be a whole new concept to the generation now growing up online. With the latest smart phones, people are now connected to the internet and are going out into the real world living life at the same time, instead of just sitting at home behind a computer. My philosophy has always been that I have been building Circuit Night Club for the next generation that’s will come out in full force. The scene today is only the beginning of the wave that is yet to come.

I’ve been getting ready for the wave for many years. I took over the other side of the Halsted Street building just before the Sept. 11th disaster. Since then I was busy at work with our architects and engineers designing the plans and getting our permit from the City of Chicago to build a state-of-the-art night club facility. Unfortunately once I got the building permit, as I stated before, the world has change around me since the project began. I'm hoping some day I’ll find the right investors to help build my dream club. I’ve provided you with a peak at the plans that I hope will come to fruition, I hope you like them as much as I did when I first saw them. The architect and engineers really listened to everyone involved and provided plans that went beyond my expectations. I’m excited to see what happens next and see if one day my dream becomes a reality that everyone will enjoy.

30 Interview with Mike Macharello

Tell us something most people might not know about you.

Hmmmm... good question. I don’t drink much alcohol, especially at work.

Being in the bar business people would assume you drink all the time.

Video Link: MTV Real World visits Circuit Night Club

Video Link: Mariah Cary Promo & Boy George djs at Circuit

Video Link: Jenny Jones TV show, Club Kid segment

WGCI MAESTRO MIX W/R-TRAX (TAPE WARPED - BAD QUALITY)

32 Interview with Mike Macharello

Video Link: PBS-TV, In The Life “Gentrification” segment

AUDIO LINKS WMET, CAPTAIN WHAMMO AIR-CHECK 1978 http://www.circuitnightclubchicago.com/Music/WMETWhammo_Tape-1978.mp3 WMET, WAMMO LINE/WHAMMO REPORTER 1978 http://www.circuitnightclubchicago.com/music/WMETWhammoReporter1978.mp3 ___________________________________________ WDAI, ACTION TRAX 1979, - DJ MIKE MACHARELLO http://www.circuitnightclubchicago.com/music/WDAIActionTrax-Mike-7-18-79.mp3 WDAI, ACTION TRAX 1979 - DJ MIKE MACHARELLO http://www.circuitnightclubchicago.com/music/WDAIActionTraxMike-8-14-79.mp3 WDAI, LIVE REMOTE AT HOLLYWOOD DISCO http://www.circuitnightclubchicago.com/Music/WDAILiveAtHollywood.mp3 ___________________________________________ WBMX, 1981, RADIO MIX BY MIKE MACHARELLO http://www.circuitnightclubchicago.com/music/ WBMX-MikeMix_11-6-81.mp3 ___________________________________________ WGCI, SPECIAL YAZ MIX BY MIKE MACHARELLO http://www.circuitnightclubchicago.com/Music/WGCISituationOnly-Mix.mp3 WGCI, MAESTRO MIX ON-AIR 5-12-84 http://www.circuitnightclubchicago.com/music/WGCIMaestroMix-5-12-84.mp3 WGCI, MAESTRO MIX ON-AIR 7-7-84 http://www.circuitnightclubchicago.com/music/WGCIMaestroMix-7-7-84.mp3 WGCI - MAESTRO MIX ON-AIR 7-14-84 http://www.circuitclubchicago.com/music/WGCIMaestroMix-7-14-84.mp3 WGCI, MAESTRO MIX ON-AIR, ON DJ EVAN LUCK’S RADIO PROGRAM http://www.circuitnightclubchicago.com/music/WGCI_ EvanLuck_MaestroMix.mp3 WGCI, BARBARA STANEK 1984 AIR-CHECK (PART A), CARLOS VALDERRAMA-LET’S DANCE MIX http://www.circuitnightclubchicago.com/music/WGCIBarbaraStanek_9-1-84-a.mp3 WGCI , BARBARA STANEK 1984 AIR-CHECK (PART B) http://www.circuitnightclubchicago.com/music/WGCIBarbaraStanek-9-1-84-b.mp3

WXFM, SPECIAL HEARTBEAT MIX BY MIKE , 1981 http://www.circuitnightclubchicago.com/music/ WXFM-HeartbeatMix.mp3 WXFM, HERB KENT PROGRAM WITH HEARTBEAT MIX BY MIKE MACHARELLO,1981 http://www.circuitnightclubchicago.com/music/ WXFM-HerbKent-5-81.mp3 WXFM, HERB KENT PROGRAM WITH HOT MIX

BY MIKE MACHARELLO http://www.circuitnightclubchicago.com/music/ WXFM-HerbKent-Mix-7-13-81.mp3 WXFM, SPECIAL TELEX MIX BY MIKE MACHARELLO http://www.circuitnightclubchicago.com/music/WXFM-TelexMix.mp3

WXFM, HERB KENT PROGRAM WITH TELEX MIX http://www.circuitnightclubchicago.com/music/ WXFM-HerbKent-TelexMix.mp3 WXFM, ANOTHER HERB KENT PROGRAM WITH HEARTBEAT MIX BY MIKE MACHARELLO http://www.circuitnightclubchicago.com/music/ WXFM-HerbKent-HeartbeatMix.mp3 ____________________________________________ HOLLYWOOD DISCO, HANOVER PARK, IL, DJ SET BY MIKE MACHARELLO http://www.circuitnightclubchicago.com/music/ HollywoodDisco_11-25-81.mp3 HOLLYWOOD DISCO COMMERCIAL ON WDAI http://www.circuitnightclubchicago.com/music/ HollywoodDiscoCommercial.mp3 HOLLYWOOD DISCO, HANOVER PARK, IL, COUNTDOWN (TAPE WARPED, BAD QUALITY) http://www.circuitnightclubchicago.com/music/ HollywoodCountdown1980.mp3 ____________________________________________ STAY OUT ALL NIGHT DISCOTEQUE, STONE PARK, IL DJ SET BY MIKE MACHARELLO http://www.circuitnightclubchicago.com/music/StayoutMikeMix.mp3

STAY OUT ALL NIGHT DISCOTQUE 1981, STONE PARK, IL, DJ SET BY MIKE MACHARELLO http://www.circuitnightclubchicago.com/Music/ StayoutMikeMix-Early-1981.mp3 ____________________________________________ PARADISE NIGHTCLUB, CHICAGO, IL 1986, DJ SET BY MIKE MACHARELLO http://www.circuitnightclubchicago.com/music/ Paradise_1986.mp3 ____________________________________________ ROSCOE’S, CHICAGO, IL 1994, DJ SET BY MIKE

WGCI , MAESTRO ON-AIR MIX WITH R-TRAX-PLAY HOUSE SONG, (TAPE WARPED, BAD QUALITY) http://www.circuitnightclubchicago.com/music/WGCIMaestroMix-RTrax.mp3 ___________________________________________

http://www.circuitnightclubchicago.com/music/Roscoes_5-13-94.mp3

WXFM - MIKE DJ - COMMERCIALS http://www.circuitnightclubchicago.com/music/ WXFM-MikesCommercials.mp3

ROSCOE’S, DJ SET BY MIKE MACHARELLO http://www.circuitnightclubchicago.com/music/ MikeAtRoscoes_1994.mp3

ROSCOE’S (WITH LAST CALL) 1992, DJ SET BY MIKE http://www.circuitnightclubchicago.com/music/ Roscoes_1992-wLastCall.mp3

PLAY HOUSE RECORDS AVAILABLE CATALOG (Click on cover for song link)

612 Crystalite Cut By A Laser - 1986 http://www.discogs.com/viewimages?rele ase=326509

PLAY HOUSE RECORDS ON YOUTUBE LINKS: http://www.youtube.com/playlist?list=PLF C65C59C9C20781F http://www.youtube.com/playlist?list=PL9 C0DAB97F6D9393F http://www.youtube.com/playlist?list=PL8 5549D3B110BD8B3 Mega Mega Mega - YouTube http://www.youtube.com/ watch?v=pcxuDc1rzfk PLAY HOUSE RECORDS CATALOG 11-LP Harvey Harris Shake The House - LP http://www.discogs.com/Harvey-HarrisShake-The-House/master/184784 411 K Joy My Phone - 1986 http://www.discogs.com/K-Joy-MyPhone/release/211788 611 K Joy My Phone Dub - 1986 http://www.discogs.com/viewimages?rele ase=211788 412 Crystalite Stop The Music - 1986 http://www.discogs.com/Crystalite-StopThe-Music-From-Playing-Cut-By-A-Laser/ release/326509

413 Denise Motto Miss Demeanor - 1986 http://www.discogs.com/Denise-MottoMiss-Demeanor-Walking-Violation-I-M-NX-T-C/master/184924 613 Denise Motto IMNXTC - 1986 http://www.discogs.com/viewimages?rele ase=129736 414 Fascination Why Are You Always Complaining - 1986 http://www.discogs.com/FascinationWhy-Are-You-Always-Complaining/ release/195286 614 Fascination Why Are You Always Complaining - 1986 http://www.discogs.com/viewimages?rele ase=195286 415 Hollywood Funk Me, Jack Me http://www.discogs.com/HollywoodFunk-Me-Jack-Me/master/17270 615 Hollywood I Like To Freak / Get Live - 1987 http://www.discogs.com/viewimages?rele ase=178577 416 Denise Motto Tell Jack - 1987 http://www.discogs.com/Denise-MottoTell-Jack-Jack-The-House/release/37892 616 Denise Motto Tell Jack - 1987 http://www.discogs.com/ viewimages?release=37892

417 Tammy Thomas It’s Getting Better 1987 http://www.discogs.com/Tammy-ThomasIts-Getting-Better/release/887691

422 Fascination The Drive, Radio - 1987 http://www.discogs.com/Fascination-TheDrive/master/364056

617 Tammy Thomas It’s Getting Better - 1987 http://www.discogs.com/viewimages?rele ase=887691

622 Fascination The Drive, House- 1987 http://www.discogs.com/viewimages?rele ase=3071041

418 Gil De La Pez I Wanna Live - 1987 http://www.discogs.com/Gil-De-La-PazCasa-I-Wanna-Live/release/300130?ev=rr

423 Debbie A Dancin’ And Romancin - 1987 http://www.discogs.com/Debbie-ADancin-And-Romancin/release/354148

618 Gil De La Pez Casa - 1987 http://www.discogs.com/viewimages?rele ase=300130

623 Debbie A Dancin’ And Romancin, Dub - 1987 http://www.discogs.com/viewimages?rele ase=354148

419 West Phillips Tell Me 1987 http://www.discogs.com/West-PhillipsTell-Me-That-You-Want-Me/master/17285

424 CLEAR VINYL http://www.discogs.com/viewimages?rele ase=246360

619 West Phillips Tell Me Dub - 1987 http://www.discogs.com/viewimages?rele ase=762419 420 Andre Wade The Flight Of Jacking Your Body - 1987 http://www.discogs.com/Andrè-WadeThe-Flight-Of-Jacking-Your-Body/ release/183555 620 Andre Wade The Flight Of Jacking Your Body - 1987 http://www.discogs.com/viewimages?rele ase=183555 421 Various 7” PH Medley of Hits - 1987 http://www.discogs.com/Various-PlayHouse-Medley-Of-Hits/release/894611 621 Various 7” PH Medley of Hits - 1987 http://www.discogs.com/viewimages?rele ase=894611

624 Serious House Mixer Tell Me http://www.discogs.com/viewimages?rele ase=1652767 425 Crystalite If My Friends Could See Me Now - 1987 http://www.discogs.com/CrystaliteIf-My-Friends-Could-See-Me-Now/ release/409087 625 Crystalite If My Friends Could See Me Now - 1987 http://www.discogs.com/viewimages?rele ase=409087 426 Shirl Hardin Love Just Slips Away 1987 http://www.discogs.com/Shirl-HardinLove-Just-Slips-Away/release/1652756 626 Shirl Hardin Love Just Slips Away - 1987 http://www.discogs.com/Shirl-HardinLove-Just-Slips-Away/release/1652756

427 Lipstique Boys Will Be Boys - 1987 http://www.discogs.com/Lipstique-BoysWill-Be-Boys/release/162518

631 Denise Motto Every Woman - 1988 http://www.discogs.com/viewimages?rele ase=312345

627 Lipstique Boys Will Be Boys http://www.discogs.com/viewimages?rele ase=162518

432 Fascination The Flight - 1989 http://www.discogs.com/Fascination-TheFlight-Serious/release/638532

428-416 Tell Jack - Bonus Denise Motto - 1987 http://www.discogs.com/viewimages?rele ase=927339

632 Fascination Serious - 1989 http://www.discogs.com/viewimages?rele ase=638532

628 London House Doing It Properly Is XTC - 1987 http://www.discogs.com/Denise-MottoLondon-House-Tell-Jack-Doing-ItProperly-Is-XTC/release/927339

633 Knight Action R-U Ready / Replay Replay - 1989 http://www.discogs.com/Knight-Action-RU-Ready-Replay-Replay/release/489277

429 Tammy Thomas Do You Want Me - 1987 http://www.discogs.com/Tammy-ThomasDo-You-Want-Me/release/740519 629 Tammy Thomas Do You Want Me - 1987 http://www.discogs.com/viewimages?rele ase=740519 430 Wanted For Fun Passion, House - 1988 http://www.discogs.com/Wanted-For-FunPassion/release/2705259 630 Wanted For Fun Passion, Acid - 1988 http://www.discogs.com/viewimages?rele ase=2705259 431 Denise Motto Totally Serious -1988 http://www.discogs.com/DeniseMotto-Totally-Serious-Every-Woman/ release/312345 38 Interview with Mike Macharello

434 Deep In House Ooooh Baby - 1989 http://www.discogs.com/Deep-In-HouseOoooh-Baby/release/246354 634 Deep In House Ooooh Baby - 1989 http://www.discogs.com/viewimages?rele ase=246354 435 Holly Oas Plastic Doll, Club - 1989 http://www.discogs.com/Holly-OasPlastic-Doll/release/408373 635 Holly Oas Plastic Doll, Remix - 1979 http://www.discogs.com/Holly-OasPlastic-Doll/release/408373 436 DJ Moses Mega Mega Meg, Mixes http://www.discogs.com/DJ-Moses-AndThe-Tablets-Of-Stone-Mega-Mega-Mega/ release/918232

636 DJ Moses Mega Mega Mega, Original http://www.discogs.com/viewimages?rele ase=918232 437 MC Kid Dope House Is In Command - 1989 http://www.discogs.com/MC-Kid-DopeHouse-Is-In-Command/release/168858 637 MC Kid Dope House Is In Command - 1989 http://www.discogs.com/viewimages?rele ase=168858 000 Duane Thamm, Jr Past & Present, Reverse Meditation http://www.amazon.com/Past-PresentReverse-Meditation/dp/B0073LJ0K0 LET'S DANCE RECORDS CATALOG 69-A Rare Item & Bud Cabbage Patch Dance - 1983 69-B Rare Item & Bud Cabbage Patch Dance, Instrumental.

- 1983 70-A Mike Tomaselli Crazy Or Not - 1984 http://www.discogs.com/Mike-TomaselliCrazy-Or-Not/release/829081 70-B Mike Tomaselli Crazy Or Not, Instru - 1984 http://www.discogs.com/viewimages?rele ase=829081 71-A Knight Action Single Girl - 1984 http://www.discogs.com/Knight-ActionSingle-Girl/master/133781

71-B Kinght Action R-Trax / D-Rail - 1984 BACK 72-A (7”) Kinght Action Single Girl 7” - 1984 http://www.discogs.com/Knight-ActionSingle-Girl/release/808743 72-B (7”) Kinght Action R-Trax 7” - 1984 http://www.discogs.com/Knight-ActionSingle-Girl/release/808743 73-A Joey O & Out of Control Nobody - 1984 http://www.discogs.com/Joey-O-Out-ofControl-Nobody/release/637289 73-B Joey O & Out of Control Nobody, Club - 1984 http://www.discogs.com/viewimages?rele ase=637289 74-A R-Trax, Mix Up Jump Trax - 1984 http://www.discogs.com/Duane-ThammJr-Jump-Trax/release/1491176 74-B R-Trax, Mix Down Jump Trax - 1984 http://www.discogs.com/viewimages?rele ase=1491176 75-A Belinda Houston I Like That In You, Radio - 1984 http://www.discogs.com/BelindaHouston-I-Like-That-In-You/ master/212672 75-B Belinda Houston I Like That In You, Club - 1984 http://www.discogs.com/viewimages?rele ase=670293

Interview with Mike Macharell 39

76-A & B Unknown 77-A Knight Action R-Trax - 1985 http://www.discogs.com/Knight-ActionR-Trax-D-Rail/release/645927?ev=rr 77-B Knight Action D-Rail - 1985 http://www.discogs.com/viewimages?r elease=645927 ES-007 Jungle Crew Electric Dance http://www.discogs.com/Jungle-CrewElektric-Dance/release/541938 PHR-11 Harvey Harris Shake The House Album, House Jackers - 1987 http://www.discogs.com/Harvey-HarrisShake-The-House/master/184784 Harvey Harris Can You Dance - 1987

Do you have any advice for people? Yes, follow your dreams no matter the obstacles in your way, and for how long it seems like it might take for you to get there, just enjoy the ride, because it is the ride of your life. Most dreams don’t happen overnight, they are usually a series of life long challenges or mountains to climbs that never seem to end. Don’t go too fast following your dream, you fall off one of those mountains, however, don’t procrastinate because going too slow could be just as bad as going to fast.

WGCI BARBARA STANEK’S PROGRAM LET’S DANCE MIX BY CARLOS 9-1-84 (A)

Harvey Harris Do Do Do - 1987 Harvey Harris Jack Jack Harvey Harris Take My Body Harvey Harris Shake The House Girl - 1987 WGCI BARBARA STANEK’S PROGRAM LET’S DANCE MIX BY CARLOS 9-1-84 (B)

40 Interview with Mike Macharello

Ty to do at least one thing towards your dream a day no matter how small it is, even if it’s just a phone call. In a months time it will add up and you’ll have at lease 30 things towards your dream (or goal), it’s easier to do and it all adds up to at least 365 steps forward in a years time.

Lastly, life is much like putting together a puzzle. Make sure you always put the right piece of the puzzle into the right puzzle place. That means if you experience difficulty in a relationship, friendship or at job, then that means you are trying to force a piece of the puzzle into a position that it don't belong in. If you continue forcing the puzzle piece into a place that it don't belong in, you will continue to experience discomfort or pain, and it will continue to hurt you even more, until you stop forcing it in. This is natures only way of telling you that you are putting the wrong piece of the puzzle in the wrong place. Therefore, as soon as you feel hurt or pain, simply move the puzzle piece to somewhere else until it fits.

MIKE MACHARELLO’S FB FAN PAGE http://www.facebook.com/MikeMacharello

PLAY HOUSE RECORDS FB FAN PAGE http://www.facebook.com/PlayHouseRecords

playhouserecordschicago@gmail.com •773.525.4401 BOI MAGAZINE ONLINE

http://www.boiMag.com http://www.facebook.com/boiMagazine

boiads@aol.com • 773.975.0264 CIRCUIT NIGHT CLUB ONLINE

http://www.CircuitNightClubChicago.com http://www.facebook.com/Circuitclub

circuitRSVP@aol.com • 773.325.2233 LET’S DANCE MUSIC POOL

http://www.facebook.com/LetsDanceMusicPool

macharello@aol.com • 773.525.7553