Smart Bar | Chicago


	Kaskade Colette Heather Justin Long Miles Maeda James Amato


	KASKADE www.kaskademusic.com www.myspace.com/kaskademusic Love Mysterious is Kaskade's third album and will mark his first release with Ultra Records. Those familiar with Kaskade's preceding albums, It's You, It's Me and In The Moment, will feel a sound of greater dimension and big-room proportion in Love Mysterious. Though his trademark melodies, sensual vocalists, and emotionally driven sound remains intact, Love Mysterious is a bolder production and reflective of Kaskade's growing acclaim and popularity worldwide. Last year's schedule alone had Kaskade appearing at 150-plus shows, the result of which is evidenced by a dedicated following whose numbers continue to multiply. This has encouraged promoters and event organizers to book the artist at venues with larger capacities, and, says Kaskade "It's affecting me as a person and as an artist and my sound in general. Five years ago when I was producing my first album, the whole non- stop, world travel thing wasn't a part of my daily routine, nor was playing sets at large scale festivals or 20,000 person massives." Today, for the Chicago-raised San Francisco transplant, playing sold out shows in every corner of the globe is, in fact, routine. When Madonna performed at the 2006 Coachella Festival, Kaskade along with Paul Oakenfold were the opening acts. Overseas, Kaskade has been the headliner at huge festivals and events including Field Day and Park Life in Sydney, Australia, or he'll pop up on any given weekend at mega-clubs ranging from Carfax in Johannesburg, South Africa to Summer Dance in Manila. If there's a dance culture alive and well in this world, Kaskade has likely been there, and he's likely scheduled to go there again soon. Kaskade's explosion onto the dance music scene and subsequent rise to top-tier status is not without significance. As Tricia Romano of the Village Voice observed, "In dance music no one ever seems to graduate or ever get promoted, which means that the ability for new DJs and producers to break in the upper ranks is incredibly hard. Kaskade is one of the few who've pushed past the Sashas and the Derricks to get on the A-list." This is so clearly the case that when URB Magazine featured Kaskade on their cover alongside Kanye West's A-Trak and NYC's Tommy Sunshine as the three the most influential DJs in North America today, they explained that "Kaskade is a special breed of house star, one who has increased in popularity over the past few years in an industry where most of the major players have at least a decade (often two) of stardom behind them." That Kaskade has broken rank as well as tradition is a testament of his ability to create music that has succeeded in transcending industry politics and obstinate so-called gatekeepers. And transcend it certainly has: consistently to the top of the charts. Kaskade's remix of the Pussycat Dolls' "Don't Cha" immediately hit Number One on Billboard Magazine's Hot Dance Music Club Play, as did his remix of David Morales' "Here I Am." His own songs have proven to be just as chart worthy: The single "Everything," a big-room remix off In The Moment made Number One on Hot Music Club Play and went as far as Number Six on Hot Dance Single Sales (another weekly Billboard chart). But it was the single "Steppin' Out" that earned Kaskade wide recognition, far beyond the dance music scene and thanks in no small part to its heavy radio play and commercial licensing, as well as being named to the annual "Top Ten Singles" list by Entertainment Weekly. From Budweiser commercials to MTV's The Real World, the rocker-styled guitar riffs of "Steppin' Out" mixed to a bass-heavy backbeat was contagious in its appeal, and burst open a wholly new and original sound to dance music. This broad appeal that Kaskade has been able to tap into has not gone unnoticed by the music industry. The accolades and recognition are numerous and include a nomination for "The Borders Award for Best New Artist" in 2004 to being voted number 20 in the "2004 America's Favorite DJ Poll" conducted by BPM Magazine. The San Francisco based magazine, SOMA, summarizes it well: "Kaskade has taken over the scene as one of the West Coast's most sought after DJs." For Kaskade, the fortuitous path of his DJ and producer career is not taken for granted. In the opening track of Love Mysterious, "Stars Align," Kaskade addresses the veritable sea of success he's been sailing with relative ease and without obstacle: "It represents how I feel about my career and the way things have been going for me. I didn't consciously write it to express this point, but listening back to the record, I definitely associate this track with my life. It's about how everything has just lined up and somehow, has seemed to work out. I've been lucky and blessed and this song is just my way of being thankful for it all." The lyrics of "Stars Align" combine with a powerful, kinetic track whose dark melody and raw rippling of bass pierce the listener provocatively, almost spiritually. All this appreciation is not to say that he takes his profession too seriously. "I'm just a guy who loves to produce music, and I'm having a really, really good time doing so. I'm not it in for the ‘scene.' I don't wear shiny sequin shirts and I don't usually hang out in clubs unless I'm going for a specific reason." With his relaxed West Coast demeanor (it's not uncommon for him to show up to a club in flip flops), and his affable personality, Kaskade is an anomaly to the stereotypes often associated with the DJ persona. Individuality is apparent in Kaskade's personality, and so is the music he produces, which is consistently fresh and discernibly original. Love Mysterious lives up to this reputation and reinforces Kaskade's stronghold in dance music. Dennis Romero of the Los Angeles City Beat couldn't have put it better when he writes, "If there's a man of the moment in dance music, it's Kaskade."


	COLETTE www.djcolette.com www.myspace.com/djcolette “I planned each charted course; each careful step along the byway, but more, much more than this, I did it my way.” – Frank Sinatra & Sid Vicious Both singer’s interpretations of the classic “My Way” convey heartfelt emotions, but it’s not just the words but how they are performed that make them both classic. Nothing could be more apt to demonstrate Colette’s do-it-herself way of crafting a mesmerizing blend of vocal performance and DJing. Captivating organic warmth with her mezzo soprano voice, Colette’s impeccable performance sense complements her programming ingenuity, allowing her to create the perfect nest for her acrobatic, angelic vocals. This sensibility has taken years to hone and Colette’s training has made her an expert. While growing up in Chicago, she studied music and performance. She discovered house music through the city’s progressive radio shows. At 17, she grabbed a microphone and sang freestyle over her DJ friends’ records. “It was fun but I didn’t want to sing too much because it was someone else’s music. I didn’t know what they were going to play, it was all freeform. That’s when I thought it would be easier if I DJ’ed myself. I wanted to sing and have the music flow perfectly,” remembers Colette. From that desire, Colette cultivated her vision to combine these performance styles. Simultaneously attending college and maintaining her voice training, Colette promoted and hosted events all over the city. This immersion into the house clubs heightened her passion for the music. But the decision to commit to DJing and singing didn’t happen until after her performance as the contralto soloist for the annual performance of Messiah. Colette threw off the classical confines and embraced the freedom of house music. Logically, Colette headed into the studio with her DJ/producer friends to translate her vocal warmth to vinyl. Her first record with Mazi & Motion, “Moments of Epiphany,” was recorded in the old Red Nail loft that had been previously occupied by two other Chicago greats…Derrick Carter and Mark Farina. Her subsequent collaborations included the tracky 12”s “Feel Da Music,” and “Keep On Groovin’,” with DJ Sneak for Strictly Rhythm. On “Try Her For Love,” Colette again challenged tradition by re-singing the song differently for each mix by producers Angel Alanis, Johnny Fiasco, Cricco Castelli, Alexi Delano and DJ Q. However, it wasn’t until 1997 when Colette united with DJs Lady D, Heather and Dayhota that she started to DJ publicly. Under the banner of SuperJane, these four friends with a shared love for music made their mark. SuperJane was the first female DJ collective and inspired numerous groups throughout the country. While working at Gramaphone, the store providing Chicago’s heartbeats, Colette focused on developing her music collection with all kinds of great music and her intertwined sets spanned all genres. As out of town promoters started calling, Colette favored the all-inclusive genre of house music. Her sets range from instrumental, techy tracks to deeply soulful songs. After a slew of mix-tapes, Colette recorded her first mixed CD, In the Sun, for Chicago-based Afterhours. With a penchant for the upbeat, Colette unifies her records through the warmth of her voice, powerful, rolling drums and distinctive bass lines. From G. Flame to Underworld to Synthique and The GreensKeepers, Colette’s programming is unmistakable. At 25, Colette relocated to Los Angeles to escape Chicago’s legendarily cold winters. So Cal’s nurturing sunshine worked quickly. After an A&R scout watched Colette’s performance overwhelm a free Friday night party, Nettwerk Records tapped Colette to put together a mixed CD. The resulting Our Day, opens with Colette’s moody, captivating a capella and journeys through her own productions as well as funkalicious tunes from Gene Farris, Twenty Twelve and Rob Mello. Colette expanded her musical horizons when she joined Kevin Dees (son of the radio legend Rick Dees) as the host of the syndicated show Maximum Rotation on KIIS Fm which ran for three years on air and online. In 2003, Colette (along with Paul Van Dyk and Felix da Housecat) was chosen to be the face and sound for Motorolla’s worldwide campaign. She also picked up Dancestar’s “Breakthrough DJ” award at the WMC. The following year she would win Dancestar’s “Best Song in a Commercial” for Motorola. For the last two years, Colette has been sequestered in studios in Chicago and Los Angeles, collaborating with producers like Home & Garden, Greenskeepers, and Kaskade on her debut artist album on Om Records “Hypnotized”. Colette co-wrote all of the songs, building them through collaborations with various musicians. “I’ve always loved a variety of music, but until this album have only ventured in the dance realm. “Hypnotized” displays a wide range of sounds from downtempo to house to pop. Eventually, I want to put together a four-piece band and make this more than a dance record. I’m not trying to step away from where I have been but I’m creating a bridge for myself to expand musically.” Wherever that leads, there is no doubt that Colette will be doing it her way.


	JUSTIN LONG www.noassemblymusic.com www.myspace.com/dotbleep Justin Long began DJing at the young age of 15. His early musical influences ranged from Joy Division and Talking Heads to the Sex Pistols. In 1988, Justin discovered house music on WBMX radio, which directed him into the world of house music where he has helped shape the Chicago House sound into what it is today. During the past 14 years, Justin has accomplished more than most could imagine in the house music industry. In the early 90's, Justin began DJing at underground events throughout the Midwest with the likes of Derrick Carter, Cajmere and Traxx. Soon thereafter, more gigs followed and Justin's name became synonymous with Chicago House music. In 1999, Justin was the founding DJ on Chicago's Q101 Sonic Boom Radio; one of the longest running mix shows in the United States. While touring for the past nine years, Justin has made frequent visits throughout the United States, Canada, Mexico and Europe, including repeat visits to headline UK venues such as Back to Basics, Sub Club, Circus, Sankey’s Soap, and Scuba. In addition, Justin has made countless guest appearances and held residencies in Chicago's best nightclubs such as Red Dog, 112 Green Street, Karma, Slick's Lounge and Zentra. Currently, Justin hosts a monthly residency at Cloud 9 Lounge in Cleveland as well as heading one of Chicago's premier house events entitled .Dotbleep. .Dotbleep takes place once a month at Smartbar, with guests such as: Traxx, Huggy (UK), Natural Rhythm, Paul Woolford and Lance DeSardi. In the studio, Justin is working closely with Dan X under the moniker "No Assembly Firm". Together, Justin and Dan have completed over two dozen projects including work for highly acclaimed record labels such as Classic, Cajual, Music For Freaks, Aroma, No No Records, Robsoul, Doubledown, Select Recordings and many more. Justin and Dan perform together frequently, headlining venues across the globe. These performances have captured a cult following. In conjunction with performing and producing, Justin has joined forces with 20:20 vision to launch his new record label, .Dotbleep Recordings. .Dotbleep will feature artists such as: Natural Rhythm, Phil Weeks, Miles Maeda and The Bionic Bump Band.


	MILES MAEDA www.milesmaeda.com Miles Maeda was one of the pioneering members of Chicago's club and rave scene in the early 90's. Originally hailing from Hawaii, Miles' influence in the Midwest was unique and made longlasting impressions. His classical background and training inspired him to experiment with many different styles and genres which shone forth in his prolific studio productions and live performances, enriching Chicago for many years. With his partners DJ Colette and Josh Werner, he co-founded the 'Material' night at Shelter, a weekly event supporting and featuring new house music from '94-'96. It provided a home for artists like Derrick Carter, Mark Farina, Sneak, Diz, Cajmere, Moodymann, Herbert and many others. He also helped develop an ambient/downtempo night, 'Atmospheric Audio Chair', along with Josh and Ken Waagner from '93-'95 which became a favorite haunt of one Mixmaster Morris. And his current residency at Smart Bar, celebrating 9 years (1998-2007), has also been an anchor in the new house music scene along with his co-residents Heather, Colette, Justin and Kaskade. Miles' creative projects continued to blossom after his relocation to California where he created such works as 'Things Are Things' EP (Aroma), 'Tell Me Why' EP (Lowdown), and 'The New House Sound of Chicago' (WE Productions/Smart Bar/Shure). His current projects include the 'My World‘ EP (Bump), 'I’ll Be A Freak For You' remix for Swirl People (Aroma) and the 'Frequency' EP (Lust 4 House). Alongside his creative music lifestyle, Miles is also a certified yoga teacher (World Evolution Yoga), traveling the world to share these tools of transformation alongside his DJ shows (Traveling Love Show). He also runs a DJ/music production program to assist those wishing to cultivate a deeper creative connection to DJing and electronic music production (DJ Evolution). Now residing in Portland, Miles‘ current endeavor is his new record label, Bopsa, which will feature releases by Derrick Carter, Lawnchair Generals, Swirl People and Kaskade. For updates and more on Miles' projects and activities, visit www.milesmaeda.com and www.myspace.com/djmilesmaeda


	Want to be the first one of your friends to get news about Smart Bar? Sign up for our mailing list! You too can be one of the many lucky individuals to receive weekly show updates and other special announcements. CLICK HERE TO SIGN UP! Smart Bar values your privacy. We never sell or share your contact info with anyone. If you wish to unsubscribe from the mailing list, please click here.


	DJ HEATHER www.ilovedjheather.com www.myspace.com/djheather In the past few years the Chicago house community has produced a number of innovative and distinct djs trained in the art of transforming tranquil dance floors into spaces of sheer bedlam and bliss. The onset nouveau jock barrage born and bred in the underground gatherings which flourish there. Their committed vision of undiluted musical appreciation, interactive communication, improvisation and basic integrity has brought greater attention to all the city's great djs including the genre busting DJ Heather. Widely regarded as one of the premier selectors in the nation, this Chicagoan demonstrates her skills and sharp deck acumen for the massives throughout the Windy City and the world at large with verve and undeniable talent. Her interest in music was sparked early on by her parents' eclectic music collection. A full spectrum of jazz, blues, rock, soul and folk was part of the Robinson household. With a foundation set, she began to discover her own tastes ranging from the Jackson 5, Chic, Blondie and Kiss. The British New Wave, Ska, Punk the burgeoning Hip Hop and Industrial movements further sparked her enthusiasm for music. "I felt as if I was on a mission of discovery. Vintage Vinyl and Big Daddy's in Evanston became my haunts. I loved finding new bands and sounds such as Depeche Mode, The Specials, Black Flag, Treacherous Three and Ministry making them my own. I would then share them with friends by making tapes. MTV and MV60 were just starting to make their mark as well. I Checked out artists such as; Frankie Goes to Hollywood and New Order at venues like The Bismark and The Riv, Aragon Ballroom and The Vic Theater every weekend if I possible." Around that same time local radio stations such as; WNUR, WGCI and WBMX were thriving with mix shows featuring homegrown tastemakers. "I remember it was crucial to record the featured mixes by the Hot Mix 5. I'd get my pack of ten Tonemaster tapes from Radio Shack and set the pause button on my little silver Realistic boom box and get ready to record. The next day at school kids would ask each other "Did you get the Mix at 6? Nah, I got the Mix at 5 and the Hot Lunch mix was tight." At all ages clubs, such as Medusa's, Teri Bristol feverishly worked the decks and Leroy Fields manned the video images. The 18 and over dance parties of rock venue Cabaret Metro sneaking into Mars Bar, on the once seedy Rush Street, AKA's on north Broadway, and the suburban teen decadence of McGreevey's all proved to be incredibly influential. "Medusa's was especially significant because of how it presented a true club experience to underage kids. I think the teens of Chi-town felt that they weren't really missing out on what the adults were doing. That was undoubtedly our own world. If we were lucky enough to sneak into clubs like La Ray's, Warehouse and The Music box that made our dance music experiences all the more meaningful" During her stint in college she briefly managed the campus only radio station KWTUH. "Whittier College's frequency was really low so you could tune in if you were on campus or happened to be driving by. For me the primary focus became the lunchtime show. Heard over the cafeteria loud speakers it had the highest listener ship of the broadcast day." "For an hour it was my chance to mold minds and influence people or so I thought. Most of the time my managerial duties consisted of filling in for students who wouldn't show up for their scheduled slots. Southern California staple KROQ supplied my radio fix that I couldn't always get on my own." She was also exploring the various music scenes of Los Angeles. "I would hit events like White Chocolate and the Apartment. I was amazed at the attention to detail and the range of music being played." Punk showcases at Scream, Ska shows followed by Scooter Rally's up and down the coast were great to check out too." After her time at school, she was waiting tables back in Chicago. A friend heard an unmixed compilation tape of hers that she played while at work. He suggested she might like playing records at a local bar. She started out in the early nineties at the Artful Dodger, a neighborhood pub with a cramped moist dance area situated in the rear. "I wasn't 21 so I was afraid of getting caught but I thought I should a least try it out. I had nothing to lose" The first night went well and the owner asked her back. His confidence in her abilities grew. She progressed from Thursdays to Fridays and finally Saturday nights and at the same time gradually built a following " I would ask some friends to come by. It was my chance to share my favorite records and have a few drinks." "At that time I was not really "mixing" but garnering an invaluable lesson in programming. Every Saturday night I was responsible for five hours of music. Hours of invaluable training at the Dodger helped me learn how to read a crowd." Naturally the fascination progressed into the technical aspect of djaying. "I wanted to mirror what I heard other djs (Gemini, Derrick Carter, Lego, Diz, Frique, Mark Farina, Johnny Fiasco, Matty etc.) doing in clubs like Shelter and lofts spaces like Reactor, 1355/1466 N. Milwaukee, Aberdeen, 500 Cermack and others throughout the city. I watched a lot of djs play and began learning by example. Finally I was able to buy two belt driven turntables. The first time I mixed two records it was like discovering a new secret language. Felt like a door opened up. I would practice six hours a day if I was able. At that stage it was truly a hobby, something I did on weekends including playing at weddings, graduation parties, gallery openings, steppers events. I did anything to help pay the bills and expand my experience. I always think of the dj thing as the happy accident. Maybe because I came into it at a stage when it wasn't considered a superstar thing to do. When I started I was the only dj in a circle of photographers, actors, designers etc." At that time she was also working for local record stores and labels like Record Exchange, Wax Trax, Southern and garnering experience about the industry. For five years she earned her chops by playing an urgent mix of hip hop, house, rock, jazz, soul, r&b, disco classics, rare groove and all manner of off-center beats relevant to the stew she was brewing. At the Dodger she fully developed her versatility and philosophy for what moves the dancefloor. During her fourth year at the Dodger, she began what would become a three-year residency at Red Dog. "Vibes and Stuff" which morfed into "Momma's Got Soul" A Wednesday night gig dedicated to downtempo beats, hip hop, rare groove and disco. "At Red Dog I was able to progress as a dj and hone my skills." At that same time she landed her first residency at Smart Bar. A Sunday night downtempo showcase dubbed "Heavy Weight Session" The second would follow five years later and remains till this day. Around that same time she recorded her first vocal project; Joining Derrick Carter's Sound Patrol Orchestra, along with house luminary Chez Damier for "Tripping Among The Stars" on the Organico label. She also began a short but invaluable stint at world famous Gramaphone Records. Many of Chicago's well known djs have made a stop there; Sneak, Mark Farina, Derrick Carter, Terry Mullan, Gemini, Colette, Miles Maeda and Justin Long to name a few. "I was originally hired to be the store's hip hop buyer. For three years that place was my resource center. I would use their phone lines, fax machines, Fed Ex and UPS accounts to the fullest extent. In addition I utilized the store to make contacts, ship demos/press kits and sell my own mixed material. With help from the shop owners, I was able to afford a pair of Technic turntables which only fueled my infatuation." The networking eventually paid off. Three years later, once bookings got in the way of covering shifts, I had to say goodbye. One gig lead to another and the hobby manifested itself into a full time pursuit. I felt like I had graduated Gramaphone tech. Working there was such a priceless experience. I made a conscious decision at that time to see how far the dj thing could go." Prior to her departure from Gramaphone one of the first known female dj collectives, Superjane, was born. Colette, Dayhota and Dj Heather (Lady D would join later) had a desire showcase talent regardless of gender "We were just a group who shared a common interest. Women emulating what other promoters/djs, who happened to be male, were doing in the city. As a crew we began hosting and playing parties at various venues. Ultimately the focus for others became our sex. For us that was never an issue." Primarily known in the Chicago dance community as a "hip hop" dj she began a shift in the material she played. "It was never a intentional choice to spin house music instead of hip hop. The demand simply seemed to intensify after each gig. Let me know that people were liking my methodology for house as well." Over time she moved on to specialize in house and maintains a soulful head-bobbing approach. Heather's track selection sends a nod of respect to the forbearers of Chicago's signature sound. "Many things influence me, more than one sound" She fuses disco, classic house and techno. She drops tracks by producers who understand the forward curve of the electronic music scene. Commanding the crowd's attention and keeping their feet moving. Soon her presence within the Windy City scene began to solidify and her reputation nationally began to grow. "Getting a chance to play outside Chicago definitely has been a combination of luck and timing. Friends, acquaintances and follow djs have looked out by suggesting me for gigs. Promoters, thankfully, trusted their opinions." That kind of luck would play a big part in her first gig in Europe. By chance a tape was passed on to a promoter and lead to a trip to Paris. "I've always felt the Chicago sound isn't much about what records you play as it is about how you play them. Using techniques such as tweaking the eq, layering records, sound effects, etc. to bring a uniqueness or signature sound to the mix." In a matter of a time she progressed from local dj to a regular on the international dj circuit. "I was able to achieve that by doing a lot of touring purely based on the strength of my djaying." Since then she has become a regular on the international circuit. In 1998 she was asked by San Francisco transplant and fellow Chicagoan Mark Farina to support his Mushroom Jazz 2 cd tour. "I felt incredibly honored. Mark asking me to join him on tour was his quiet way of saying I like what you do. Truly the ultimate compliment." She would later join him on the road in support of the third and fourth installments of the Mushroom Jazz series. As well as the house release San Francisco Sessions for Om Records in 1999. The cd also featured "Something Else" her first of three collaborations with 2nd Shift (JT Donaldson and Tim Shumaker) originally available on Seasons Recordings. A year later Heather released her own officially licensed mix "Tangerine" for the Chicago based Afterhours label. "With my debut compilation I hoped to simply illustrate that I could program and mix. I think I achieved that". With stand out reviews she hit the road on her own. That same year she returned to Chicago club staple Smartbar to begin her second residency at the venue. 2002 marked her inaugural trip to South Africa. "Visiting the continent was life altering. I went to Capetown and Johannesburg. Chanting, dancing, call and response throughout my set . I never had that type of true connection with an audience before. On top of all that, I was asked to make a speech after I played. Amazing." She was the first African-American woman ever to play there. The UK's Jockey Slut magazine touted her, as a star on the rise in their Feburary 2002 issue. The next month she won the first ever Dancestar award for Breakthrough DJ. "I was definitely surprised I was nominated but to win was even more shocking". That year Heather also began her relationship with the London club Fabric. "Really a great space for djs and live performances. The attention detail is fantastic. I felt so comfortable there." They felt the same and she officially became one of the residents in two years later. "I love that club" In 2003 Vancouver's Nordic Trax asked her to take on mixing duties "Dancefloor Principles". This lead to her first trip to Japan, fulfilling a childhood dream. "Since I was a kid I had dreamt of going to Asia, Tokyo especially. I toured extensively for the disc. The stop was unquestionably a highlight" Despite her hectic time on the road she still manages to get in the studio. "Collabrating is a lot of fun. For me it's interesting to see how other people handle the creative process. In the last few years I have worked with Brett Johnson, Greenskeepers, Slater Hogan, John Larner, Swirl People and Colette among others." Named after her favorite soy yogurt, Blackcherry Recordings, made its debut with the buzz worthy single "Picture of You" featuring Heather along with D.C.'s own EastcoastcoastBoogiemen. " I came up with the name four years ago with intentions of starting a label. No project fit until this came along. I guess it was meant to be". Remix duties were taken on by some of house music brightest rising stars. Lawnchair Generals, Jason Hodges, Natural Rhythm and Cle provided diverse takes on the original. She plans to release her own original material on the label in 2006. 2005 also marked Heather's installment to the much heralded Fabric CD series, for the club of the same name. "With 21 I had a concept in mind; most of the material had to have been played at the club to give it an honest feel." Judging by critics and house enthusiasts she has done just that. "At the end of the day to make a room full of people happy is difficult to do. You become part mind reader , guru, sensei, educator, entertainer and babysitter all at once. All the experiences I have had, made who I am today. As a person and dj. I love what I do." With 15 years of experienced behind her Dj Heather has grown to become one of the Windy City's main Dj exports. She is an artist who defies conformity, defines quality and continues to nurture her solid skills for soul music of the technological generation.


	JAMES AMATO www.myspace.com/amatoinside James Amato’s business-savvy approach to the music industry has kept him balancing roles of promoter, record label owner, DJ and producer for more than a decade. From hosting his first one-off event in 1999 to securing his position as Director of Music and Bookings at Chicago’s historically influential SmartBar since 2006, James has become one of the most widely recognized names on the national & electronic music scene. Most recently, James has established his industry presence further, launching his widely successful fidget/electo/tech house label, Potty Mouth Music, which has earned him notoriety worldwide. James launched his music career in his native city of Milwaukee, Wis., where he climbed through the promotional ranks of the local and Midwest rave scene in the 1990s. After working at pioneering electronic music venues—including Revolutions Records and Bassment with promoter and mentor Steven Kaye—he landed the position of Saturday Night Music Director and resident DJ at Milwaukee’s Pure nightclub. At the time, Pure stood as the city’s premiere underground music venue, boasting a six-figure sound system and sprawling capacity. In 2004, James invested back into the industry by becoming co-owner and director of music and bookings at Milwaukee’s Mantra Lounge. Here he launched Kamasutra, a legendary Friday event that ran for three successful years. Kamasutra would go on to host an unprecedented line-up of electronic music talent the city had never seen before, or has ever seen since. As the night’s promoter, James booked a versatile roster of underground artist that defied genre boarders. The consistent success of Kamasutra put the city’s club scene on the national radar, as it garnered press attention from publications including URB and earned James a front-page cover story in Nightclub/Bar Magazine. His success also earned him runner-up for the “Best Promoter” in the U.S. by URB magazine, along with several pictorial Kamasutra spreads throughout 2005. Locally, James earned several press accolades, including “Best Club DJ” in Milwaukee’s 2005 Shepherd Express readers’ poll. In September 2006, James relocated to Chicago to become the new Director of Music and Bookings at Chicago’s SmartBar, a historic venue with a 25-year tradition of showcasing electronic talent. Under the guidance of owner Joe Shanahan James continues broaden his scope as a promoter and bookings director, debuting innovative artists to Chicago, including Switch, Alan Braxe, Digitalism, Para One, Boys Noize, Claude Vonstroke, and Erol Alkan. In 2008, Club Systems International recognized his efforts to diversify and promote Chicago’s electronic music scene by selecting him as one of its “Next 10 Exciting Up-and-Comers” as part of its annual VIP Edition—“Nightlife’s 30 Most Influential People.” Additionally, James has received critical Chicago fanfare in 2007, when he was named part of NewCity magazine’s “45—45 Most Influential People That Rock Chicago!” James’ promotional rise on the underground electronic scene led to his creation of two widely success digital/vinyl labels, including his 2007 venture, Potty Mouth Music, which showcases a diverse roster of fidget and tech house producers. With artists including: Santiago & Bushido, Crookers, HiJack, DJ Fame, The Bulgarian, and HeavyFeet, Potty Mouth Music has established itself as an innovative label embracing the newer dirty-quirky union of electro, house and techno. The label earned further notoriety in 2008, when label members Santiago & Bushido claimed the number-one downloaded track spot for their Potty Mouth single, “Head Trick,” claiming the spot for three consecutive weeks on beatport.com. The digital download site is the second most-trafficked music internet site in the world. James continues to push the industry envelope in balancing his career as a Chicago-based promoter and label-owner. He now DJs exclusively at his resident home of SmartBar, playing only six shows a year in Chicago. His dedication in the studio and in the club continues to the industry standard of the international electronic music scene.