thesynthesis
New member
NeighberHoodPusher;3069458 said:
if a nigga wearing lipstick, u gonna act like that shit normal?
where u from san francisco? lmaoo
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if a nigga wearing lipstick, u gonna act like that shit normal?
where u from san francisco? lmaoo
thesynthesis
New member
skooby2315;3069466 said:
i met a few celebs, i met will smith, he wasnt walking around the airport with make up on
i met justin timberlake, no make up,
i mean if niggas gonna go on TV then yea make up is compulsory, but if a nigga wakes up in the morning and the fist thing he grabs is the blusher and lipstick, he needs to check his sexuality cuz its fruity as this alize
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StoneColdMikey
New member
thesynthesis;3069485 said:
but the thing is he was at an event why wouldnt he wear make up i bet jay also wearin make up and all the celebrities that went there
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thesynthesis
New member
skooby2315;3069496 said:
to be fair, jay dont look like he wearing make up,
kanye is into man purses and make up, does that make him gay? no
in europe white straight men wear make up, its normal over there, so i guess kanye tryna get his white metrosexual soft shit on,
either way shit is weird as fuck to me, kind of alien
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thesynthesis
New member
gee757;3069491 said:
to be fair though amy whinehouse was godparent to black kids and was trying adopting some black girl over from the islands that she met and felt sorry for
i'm willin to give a crack head the pass, cuz unno wat crack can make u say and do
however Axel Rose if a typical racist white rocker, he made no bones about his racism and tried to stereotype black men with the "robbery" shit, which was his excuse for his racist rants and songs
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thesynthesis;3069513 said:
man u betta go read up on JIM BURWELL i dont give a damn about all that shit he did way mo shit fa blk folkz then amy & he was a KLANSMEN amy winehouse was a closet racist cracka like FEMINEM crackaz like winehouse & marshall r not 2 b trust;d cuz they will grin n ya face & call u n1gger behind ya back atleast i can respect that cracka axel mo cuz he dont hide hez a racist cracka like them other 2..,,.
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StoneColdMikey
New member
and the tour been pushed backed
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thesynthesis
New member
gee757;3069555 said:
naw he tried to deny his racism after lol
the point being unno how jayz can call himself the black axel rose, when axel hated niggerssss and thought we are all petty street criminals with no class
i mean jayz is much older than me so i know he knows what axel said,
whats next, hov gonna compare himself to kramer
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snippets from 6 songs from the album...terrible quality but still somethin
http://dexliesvideotape.tumblr.com/
http://dexliesvideotape.tumblr.com/
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Niggas back
New member
skooby2315;3069562 said:
[Ice Cube]English motherfucka[Ice Cube]
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dontdiedontkillanyon
New member
Jay-Z and Kanye West: Watch the Throne – track-by-track review
The royal rappers launched their new album, Watch the Throne, at New York's Museum of Natural History on Monday. Read our first impressions as they jostle for hip-hop's crown
Allegiance to the Throne ... Jay-Z and Kanye West. Photograph: Startraks Photo/Rex Features
Is it possible for a listening party to be too opulent? Not for hip-hop's two biggest stars, Jay-Z and Kanye West, who held a party for about 400 at the American Museum of Natural History in New York on Monday to celebrate their long-promised collaboration, Watch the Throne.
A bar boasting acres of hors d'oeuvres (we sampled chicken and pineapple satay, lobster rolls, and sweet potato fritters with caramel-pecan glaze), and string-heavy 70s soul set the mood for the main event. Or, more cynically, helped lull a bunch of hacks into hitting Twitter as soon as their mobiles were returned after the playback, praising the album to the skies. (Search #watchthethrone and scroll down for the full, OK-guys-that'll-do details.)
It didn't hurt that the playback was held in the planetarium, under images of shifting constellations. There were plenty of real-life star bodies as well: Q-Tip, who co-produced two of Watch the Throne's tracks (Lift Off, featuring Beyoncé, and Prime Time) was in the domed auditorium before the gathered throng, and he was eventually joined by Kelly Rowland, Jada Pinkett-Smith, and Busta Rhymes, among others. But none of it would have meant anything if the album had disappointed. Itdidn't.
That isn't to say it's an obvious classic – one listen isn't enough to determine that – but it is impressive. Both rappers sound hungry, if restrained, like they're giving each other room. Kanye keeps looking for new angles, both lyrically and in rhyming cadence, while Jay-Z seems more like he's comfortable taking aim, firing and hitting. When it was over, Jay-Z got explained that the album took nine months and three attempts to make. One was finished and, apparently, impressively bombastic but not particularly listenable. Good for them for being shrewd enough to know the difference.
Track-by-track review:
1. No Church in the Wild (ft Frank Ocean)
(prod. Kanye West and 88-Keys)
Over stalking bass, Kanye murmurs "What's a king without a god?" before Jay-Z fires off a strong verse. West is sly and clipped, describing someone as "striped like a zebra/ I call that jungle fever." Frank Ocean sings the hook through a vocoder.
2. Lift Off (ft Beyoncé)
(prod. Kanye West, Mike Dean, Jeff Bhasker, Q-Tip and Don Jazzy)
As galaxies form overhead, Beyoncé sings "Take you to the moon/ Take you to the stars." Now that's selling it. The track is bombastic – the synths recall The Final Countdown by Europe, full of triumphalist opulence.
3. Niggas in Paris
(prod. Hit-Boy, Kanye West, Mike Dean and Anthony Kilhoffer)
This percolating track could have been produced by Wiley, with sick sub-bass and a snare that sounds like static. Both rappers are in excellent form, with Jay-Z repeating "That shit cray" – we are left to fill in the "-zy". Kanye begins in half-time and speeds up. Among the lines that jump out: "I'm suffering from realness" and "Don't let me get in my zone." A standout track.
4. Otis (ft Otis Redding)
(prod. Kanye West)
You know this one already – more beats tied to the bass, as is largely the case on the three tracks preceding it.
5. Gotta Have It
(prod. the Neptunes and Kanye West)
Kanye: "LOLOLOL, America/ Try and assassinate my character."
6. New Day
(prod. RZA, Kanye West, Mike Dean and Ken Lewis)
Now here's a song topic: how Jay and 'Ye plan to raise their as-yet-hypothetical boys. Kayne: "I won't let my son have an ego/ Be nice to everyone wherever we go." And later, in a nod to his notorious comment about George W Bush, he talks about raising his son "Republican, so they know he likes white people".
7. Prime Time
(prod. Q-Tip, Kanye West and Jeff Bhasker)
Throwback time! The scratched-in "ba-bada-you" from Public Enemy's Brothers Gonna Work It Out, the Incredible Bongo Band's Apache conga break, and a chorus that is "very late-80s". Of course it is – they sampled it from La Roux.
8. Welcome to the Jungle
(prod. Swizz Beatz, Mike Dean and Ken Lewis)
Squabbly, mnemonic guitar forms the backdrop here. Great twist on an already worn theme: Jay-Z's "Rest in peace to the leader of the Jackson 5."
9. Who Gon Stop Me
(prod. Sham "Sak Pase" Joseph, Kanye West and Mike Dean)
"I can't stop-op-op-op-op-op": Romping, ravey synths, a big stomp without much give. West: "This is something like a holocaust/ Millions of our people lost."
10. Murder to Excellence
(prod. Swizz Beatz and Symbolyc One)
The obvious centerpiece of the album, its grandest statement: "It's all love," Kanye raps, "I love us" – meaning black America. "Pay-per-view murder/ Black-on-black murder," goes one oft-repeated line, with "black excellence" later replacing it. Congas courtesy of William DeVaughn's Be Thankful for What You've Got.
11. Sweet Baby Jesus (ft Frank Ocean)
(prod. Sham "Sak Pase" Joseph and Mike Dean)
Instead of looking forward to new family, this one looks back at old: Jay-Z raps about his "grandma" (which he rhymes with "star-spangled banner"), Kanye talks about meeting his producer No ID in Chicago and "getting high on my own supply" – of beats, naturally.
12. Why I Love You (ft Mr. Hudson)
(prod. Mike Dean and Kanye West)
Mr Hudson's hook sounds like a pitch-shifted old Ratt record, shrieking hair-metal bombast. The track and verses are pretty good, though, with Jay-Z snarling, "Got a pistol under my pit bull." The song, and album, ends abruptly, which is satisfying.
http://www.guardian.co.uk/music/musicblog/2011/aug/02/jay-z-kanye-west-watch-throne
The royal rappers launched their new album, Watch the Throne, at New York's Museum of Natural History on Monday. Read our first impressions as they jostle for hip-hop's crown
Allegiance to the Throne ... Jay-Z and Kanye West. Photograph: Startraks Photo/Rex Features
Is it possible for a listening party to be too opulent? Not for hip-hop's two biggest stars, Jay-Z and Kanye West, who held a party for about 400 at the American Museum of Natural History in New York on Monday to celebrate their long-promised collaboration, Watch the Throne.
A bar boasting acres of hors d'oeuvres (we sampled chicken and pineapple satay, lobster rolls, and sweet potato fritters with caramel-pecan glaze), and string-heavy 70s soul set the mood for the main event. Or, more cynically, helped lull a bunch of hacks into hitting Twitter as soon as their mobiles were returned after the playback, praising the album to the skies. (Search #watchthethrone and scroll down for the full, OK-guys-that'll-do details.)
It didn't hurt that the playback was held in the planetarium, under images of shifting constellations. There were plenty of real-life star bodies as well: Q-Tip, who co-produced two of Watch the Throne's tracks (Lift Off, featuring Beyoncé, and Prime Time) was in the domed auditorium before the gathered throng, and he was eventually joined by Kelly Rowland, Jada Pinkett-Smith, and Busta Rhymes, among others. But none of it would have meant anything if the album had disappointed. Itdidn't.
That isn't to say it's an obvious classic – one listen isn't enough to determine that – but it is impressive. Both rappers sound hungry, if restrained, like they're giving each other room. Kanye keeps looking for new angles, both lyrically and in rhyming cadence, while Jay-Z seems more like he's comfortable taking aim, firing and hitting. When it was over, Jay-Z got explained that the album took nine months and three attempts to make. One was finished and, apparently, impressively bombastic but not particularly listenable. Good for them for being shrewd enough to know the difference.
Track-by-track review:
1. No Church in the Wild (ft Frank Ocean)
(prod. Kanye West and 88-Keys)
Over stalking bass, Kanye murmurs "What's a king without a god?" before Jay-Z fires off a strong verse. West is sly and clipped, describing someone as "striped like a zebra/ I call that jungle fever." Frank Ocean sings the hook through a vocoder.
2. Lift Off (ft Beyoncé)
(prod. Kanye West, Mike Dean, Jeff Bhasker, Q-Tip and Don Jazzy)
As galaxies form overhead, Beyoncé sings "Take you to the moon/ Take you to the stars." Now that's selling it. The track is bombastic – the synths recall The Final Countdown by Europe, full of triumphalist opulence.
3. Niggas in Paris
(prod. Hit-Boy, Kanye West, Mike Dean and Anthony Kilhoffer)
This percolating track could have been produced by Wiley, with sick sub-bass and a snare that sounds like static. Both rappers are in excellent form, with Jay-Z repeating "That shit cray" – we are left to fill in the "-zy". Kanye begins in half-time and speeds up. Among the lines that jump out: "I'm suffering from realness" and "Don't let me get in my zone." A standout track.
4. Otis (ft Otis Redding)
(prod. Kanye West)
You know this one already – more beats tied to the bass, as is largely the case on the three tracks preceding it.
5. Gotta Have It
(prod. the Neptunes and Kanye West)
Kanye: "LOLOLOL, America/ Try and assassinate my character."
6. New Day
(prod. RZA, Kanye West, Mike Dean and Ken Lewis)
Now here's a song topic: how Jay and 'Ye plan to raise their as-yet-hypothetical boys. Kayne: "I won't let my son have an ego/ Be nice to everyone wherever we go." And later, in a nod to his notorious comment about George W Bush, he talks about raising his son "Republican, so they know he likes white people".
7. Prime Time
(prod. Q-Tip, Kanye West and Jeff Bhasker)
Throwback time! The scratched-in "ba-bada-you" from Public Enemy's Brothers Gonna Work It Out, the Incredible Bongo Band's Apache conga break, and a chorus that is "very late-80s". Of course it is – they sampled it from La Roux.
8. Welcome to the Jungle
(prod. Swizz Beatz, Mike Dean and Ken Lewis)
Squabbly, mnemonic guitar forms the backdrop here. Great twist on an already worn theme: Jay-Z's "Rest in peace to the leader of the Jackson 5."
9. Who Gon Stop Me
(prod. Sham "Sak Pase" Joseph, Kanye West and Mike Dean)
"I can't stop-op-op-op-op-op": Romping, ravey synths, a big stomp without much give. West: "This is something like a holocaust/ Millions of our people lost."
10. Murder to Excellence
(prod. Swizz Beatz and Symbolyc One)
The obvious centerpiece of the album, its grandest statement: "It's all love," Kanye raps, "I love us" – meaning black America. "Pay-per-view murder/ Black-on-black murder," goes one oft-repeated line, with "black excellence" later replacing it. Congas courtesy of William DeVaughn's Be Thankful for What You've Got.
11. Sweet Baby Jesus (ft Frank Ocean)
(prod. Sham "Sak Pase" Joseph and Mike Dean)
Instead of looking forward to new family, this one looks back at old: Jay-Z raps about his "grandma" (which he rhymes with "star-spangled banner"), Kanye talks about meeting his producer No ID in Chicago and "getting high on my own supply" – of beats, naturally.
12. Why I Love You (ft Mr. Hudson)
(prod. Mike Dean and Kanye West)
Mr Hudson's hook sounds like a pitch-shifted old Ratt record, shrieking hair-metal bombast. The track and verses are pretty good, though, with Jay-Z snarling, "Got a pistol under my pit bull." The song, and album, ends abruptly, which is satisfying.
http://www.guardian.co.uk/music/musicblog/2011/aug/02/jay-z-kanye-west-watch-throne
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thesynthesis
New member
edit..........
Last edited:
Elzo69Renaissance
New member
First and foremost I’d like to thank my connect for the smoothest entry I’ve ever had for these type of events, even with all the organized chaos. I wasn’t on a list and got walked in by..well, let’s just say I got people in high places like Jesus niece. Second, let me pre-face by also saying I spent the after noon into the evening prior to the session, in the company of 88-Keys listening to EVERYTHING,..except No Church In The Wild, which are all equally if not more crazy, but that’s a different rant/review for a different post. Let’s get to the main event:
No Church In The Wild – sets the tone in a way so compelling that you know this album is going to deliver some level of greatness. The beat itself is somewhat in the same vein as “Novacane”, on steroids. 88-Keys definitely earned top 4 placements with this one. Lyrically it was promising as well with Yeezy kickin a hilarious bar along the lines of “Coc on black skin got her striped like a zebra, now that’s that jungle fever” but the chorus was like “what’s a King to a God, what’s a God to a non believer”.
Lift Off – This a big and powerful record, sound wise. The beat is going to take your ears somewhere you didn’t expect to go, the name is aptly chosen here. Beyonce erupted with some of the best vocals I’ve heard from her. While I didn’t enjoy “4″ as much as her previous work, I’d have to be a hater to say she didn’t make this joint hot.
Niggas In Paris – Hit-Boy knocked this one out the park, and The Throne laid down mean verses. Sonically, the track itself stands out with the drums and other sounds blended in.
Otis – Sounds like interlude rap in comparison to the other records, both lyrically and the beat, while the Otis Redding sampled is flattering and refreshing, once you get passed this the album picks up again. One point that got across clear is that, if you mess with his little brother, there’s a good chance Hov‘s bodyguards might murk ya.
Gotta Have It – The beat vocal sample is weird but it works, once it drops the bass hits. “I’m plankin’ on a Million” – Hov
New Day – This is where the introspective and thought provoking side of the lyrical content starts to rear it’s head. You hear Kanye and Jay talking to unborn heir’s of The Throne. While the concept isn’t ground breaking, the words and emotion put into this make it undeniable. “I’ll never let my son have a ego, I’ll make sure he act nice wherever we go..maybe even make him be a Republican…cause he loves white people” – Kanye, with Jay closing out reflecting on not having a father around; “My dad left me and I promised never to repeat em (never repeat em, never repeat em, never repeat em)” – Hov
That’s My Bitch – Dope record, the way this was revamped in comparison to the leaked shell version of it, deserves an applause. Nothing dramatic but the full completed record will please the fans who were in limbo as to whether or not this would make the cut. Hov added some bars before he gets to “back to my Beyonce’s” or at least changed some words. Kanye’s mumbling are now words (“pop champagne, i’ll give you a sip”) and Justin Vernon adds a nice touch.
Welcome To The Jungle – An easy contender for the #1 or #2 spot as far as production goes. Swizz Beatz must have been saving this enclosed behind a “in case of emergency, break glass” window. Hov destroyed this in my opinion, by being so vulnerable in his verse, add to the fact the flow was flawless. He begins his self diatribe as the “Black Axel Rose”. From there it get crazy and you feel the pain conveyed in every line.
“My uncle died, my daddy did too, I’m numb from the pain, I can barely move. My nephew gone, my heart is torn. Sometimes I look to the sky, ask why I was born”
“Rest in peace to the leader of Jackson 5″
“where the fuck is the Sun? It’s been a while. Momma look at ya son, what happen to my smile?”
“my tears is tatted, my gat in my pocket, I’m just lookin for the love I know someone got it”
“I look in the mirror, my only opponent”.
Who Gon Stop Me – Superb, I knew from hearing the original record that this would be problematic, in a good way. You’re going to love how it was transformed to switch up at certain transitions and breaks, that really sealed the deal. Hands down one of the best tracks here, from bars to sound, pretty much all around. This has the potential to shut dance floors down at the club. Kanye storms in on the first verse rhyming in Pig Latin: “Ixnay off my Dicks-nay, that’s pig latin, bitch-nay”. The Verse Simmonds penned hook is brilliantly ignorant: “Black rims, black cards, Black on back, black bra’s, whole lotta money in a black bag, black strap, you know what that’s for”. Hov stand outline: “Did all this without a diploma, graduated from the corner”.
Murder To Excellence Kanye utilizes his vocals much in the way he did in Runaway, and compliments the echoed voices sewn within the track. The focus and message of this track was centered around violence that plagues the African American community, and really society in general. Kanye boldly compares casualties of his hometown to the death toll in Iraq; “It’s a war going on outside we ain’t safe from, I feel the pain of my city wherever I go..314 soldiers died in Iraq, 509 died in Chicago”
Made It In America – This song will tug at heart strings and bring out emotion as Frank Ocean serenades this track like a young Sam Cooke, singing the sorrow in honor of fallen leaders “Sweet brother Malcolm, Queen Betty Shabazz”. When we look back at this record, this song will forever have Frank Ocean etched into Hip-Hop.
Why I Love You So – I don’t really remember much from this song as it was winding down. The most memorable part is the fact that Mr. Hudson brought his A-Game. Reminded me somewhat of a male version of Rihanna on “Run This Town”, he harmoniously shrieks “I love you so.. but why I love you..I’ll never know”, and the album ends on an abrupt, meeting adjourned.
No Church In The Wild – sets the tone in a way so compelling that you know this album is going to deliver some level of greatness. The beat itself is somewhat in the same vein as “Novacane”, on steroids. 88-Keys definitely earned top 4 placements with this one. Lyrically it was promising as well with Yeezy kickin a hilarious bar along the lines of “Coc on black skin got her striped like a zebra, now that’s that jungle fever” but the chorus was like “what’s a King to a God, what’s a God to a non believer”.
Lift Off – This a big and powerful record, sound wise. The beat is going to take your ears somewhere you didn’t expect to go, the name is aptly chosen here. Beyonce erupted with some of the best vocals I’ve heard from her. While I didn’t enjoy “4″ as much as her previous work, I’d have to be a hater to say she didn’t make this joint hot.
Niggas In Paris – Hit-Boy knocked this one out the park, and The Throne laid down mean verses. Sonically, the track itself stands out with the drums and other sounds blended in.
Otis – Sounds like interlude rap in comparison to the other records, both lyrically and the beat, while the Otis Redding sampled is flattering and refreshing, once you get passed this the album picks up again. One point that got across clear is that, if you mess with his little brother, there’s a good chance Hov‘s bodyguards might murk ya.
Gotta Have It – The beat vocal sample is weird but it works, once it drops the bass hits. “I’m plankin’ on a Million” – Hov
New Day – This is where the introspective and thought provoking side of the lyrical content starts to rear it’s head. You hear Kanye and Jay talking to unborn heir’s of The Throne. While the concept isn’t ground breaking, the words and emotion put into this make it undeniable. “I’ll never let my son have a ego, I’ll make sure he act nice wherever we go..maybe even make him be a Republican…cause he loves white people” – Kanye, with Jay closing out reflecting on not having a father around; “My dad left me and I promised never to repeat em (never repeat em, never repeat em, never repeat em)” – Hov
That’s My Bitch – Dope record, the way this was revamped in comparison to the leaked shell version of it, deserves an applause. Nothing dramatic but the full completed record will please the fans who were in limbo as to whether or not this would make the cut. Hov added some bars before he gets to “back to my Beyonce’s” or at least changed some words. Kanye’s mumbling are now words (“pop champagne, i’ll give you a sip”) and Justin Vernon adds a nice touch.
Welcome To The Jungle – An easy contender for the #1 or #2 spot as far as production goes. Swizz Beatz must have been saving this enclosed behind a “in case of emergency, break glass” window. Hov destroyed this in my opinion, by being so vulnerable in his verse, add to the fact the flow was flawless. He begins his self diatribe as the “Black Axel Rose”. From there it get crazy and you feel the pain conveyed in every line.
“My uncle died, my daddy did too, I’m numb from the pain, I can barely move. My nephew gone, my heart is torn. Sometimes I look to the sky, ask why I was born”
“Rest in peace to the leader of Jackson 5″
“where the fuck is the Sun? It’s been a while. Momma look at ya son, what happen to my smile?”
“my tears is tatted, my gat in my pocket, I’m just lookin for the love I know someone got it”
“I look in the mirror, my only opponent”.
Who Gon Stop Me – Superb, I knew from hearing the original record that this would be problematic, in a good way. You’re going to love how it was transformed to switch up at certain transitions and breaks, that really sealed the deal. Hands down one of the best tracks here, from bars to sound, pretty much all around. This has the potential to shut dance floors down at the club. Kanye storms in on the first verse rhyming in Pig Latin: “Ixnay off my Dicks-nay, that’s pig latin, bitch-nay”. The Verse Simmonds penned hook is brilliantly ignorant: “Black rims, black cards, Black on back, black bra’s, whole lotta money in a black bag, black strap, you know what that’s for”. Hov stand outline: “Did all this without a diploma, graduated from the corner”.
Murder To Excellence Kanye utilizes his vocals much in the way he did in Runaway, and compliments the echoed voices sewn within the track. The focus and message of this track was centered around violence that plagues the African American community, and really society in general. Kanye boldly compares casualties of his hometown to the death toll in Iraq; “It’s a war going on outside we ain’t safe from, I feel the pain of my city wherever I go..314 soldiers died in Iraq, 509 died in Chicago”
Made It In America – This song will tug at heart strings and bring out emotion as Frank Ocean serenades this track like a young Sam Cooke, singing the sorrow in honor of fallen leaders “Sweet brother Malcolm, Queen Betty Shabazz”. When we look back at this record, this song will forever have Frank Ocean etched into Hip-Hop.
Why I Love You So – I don’t really remember much from this song as it was winding down. The most memorable part is the fact that Mr. Hudson brought his A-Game. Reminded me somewhat of a male version of Rihanna on “Run This Town”, he harmoniously shrieks “I love you so.. but why I love you..I’ll never know”, and the album ends on an abrupt, meeting adjourned.
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TRILLip Brooks
New member
axel foley>>jeff axel>> axel rose
Last edited:
checkyoselff
New member
http://www.omfgmusic.net/2011/08/listen-to-low-quality-sneak-peak-of.html
http://soundcloud.com/omfgomfgmusic/omfg-music1
http://soundcloud.com/omfgomfgmusic/omfg-music2
quality is real low spread this around http://www.ddotomen.com/ snuck in the listening session and recorded it and posted it on his blog,he is being flamed for it,LOL even though other sites do the same shit and leak shit too
hack the industry lol
http://soundcloud.com/omfgomfgmusic/omfg-music1
http://soundcloud.com/omfgomfgmusic/omfg-music2
quality is real low spread this around http://www.ddotomen.com/ snuck in the listening session and recorded it and posted it on his blog,he is being flamed for it,LOL even though other sites do the same shit and leak shit too
hack the industry lol
Last edited:
TRILLip Brooks
New member
production sounds dope, cant really hear what they're saying
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Food & Liquor
New member
The dude who got the snippets also leaked a Yelawolf song and made him quit twitter. I get the feeling he's gonna get a lot of rappers pissed off with him
EDIT: Damn Mike Dean had a go at the dude too
https://twitter.com/#!/therealmikedean/status/98445852464517120
EDIT: Damn Mike Dean had a go at the dude too
https://twitter.com/#!/therealmikedean/status/98445852464517120
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