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When globetrotting electronic dance music DJs come to town the energy is rock-show thick. The tough, loud music. The sparkling visuals along side layers of multicolored flashing lights. The rabid crowd. These elements unite, and fans are delivered something special. Drew “Rukes” Ressler’s job is to capture that nocturnal magic.
Long Island-native Drew Ressler, best known as Rukes (pronounced with a Roo) never planned on becoming a photographer for a living, much less America's top DJ photographer. He never planned on snapping shots of the DJs he used to pay to see at festivals and clubs across the country. He definitely didn’t plan on having his work in Vanity Fair, URB, or the Los Angeles Times. But that all happened.
Thanks to a natural eye for photography, perseverance, and a love of technology (past, present, future,) Rukes (Myspace) has become one busy guy with a funky work schedule. He sometimes doesn’t get home from gigs until it’s nearly light out. Instead of sleep he uploads his “pictures,” as he likes to call his work, to his popular website. When clubbers and DJs awake they’re greeted by evidence of a multi-sensory experience that’s rarely looks this good the day after. LAist sat down with Rukes to talk about how a guy who wanted to work in video games stumbled upon this amazing life.
Drew “Rukes” Ressler, Photographer
Rukes: My idea of photography is a mix of the past and present. Take Ansel Adams, he didn’t have Photoshop or airbrushing back in the day. If he took a bad picture he had to get rid of it. And the present, I like Annie Leibovitz (who I am often compared to) with her music industry work, and close collaboration with her subject background.
On Shooting Nightclubs
If you used film/early digital, and you wanted to go out to the club, the technology wasn’t really there for Low Light photography. You had lots of blurry pictures. With some experimenting, I found the unique angle for Low Light and clarity at the same time. I could keep the lights of the club, and keep the DJ in focus so it would look natural, and not like a streaky mess. I definitely feel like I was in the right place at the right time with digital technology.
The Beginning
I used to work in the video game industry. I was lead tester at Acclaim in Long Island, New York. It was fun but I knew the company was going down. I jumped out right before they declared bankruptcy. Then I moved in with my cousin in the Valley, knowing there were a ton of video game companies in LA. I tried a few, and even though I had experience, they wanted me to start at the bottom and work my way back up again.
- What’s your favorite restaurant in LA if you’re paying? It’s a tie. Matsuhisa for sushi. The Palm for steak and lobster. The Palm is a great standby because when I travel I can always find one somewhere.
A Boost From Hybrid
I used my camera as an excuse to get into clubs for free, get on stage, and to photograph the DJs I liked to listen to, like Hybrid -- they’re one of my favorites.
Mike Truman from Hybrid (Myspace) is also a good photographer in his own right. I’d show him my pictures (looking back, they are pretty crappy compared to what I do now.) He told me that I really had an eye for this, and that I should keep going. To hear someone who I really looked up to praise me for this thing I’m doing for fun made me think maybe I did have an eye for it.
The Hobby Becomes The Job
In the beginning of 2006 I was hired by Avalon in Hollywood. I was getting some magazine work here and there, too. By that time I was making the same amount of money for one night of work that I’d make for a 40 hour week as a basic video game tester. I quit that to do photography full time. Luckily my weekend hobby turned into my job.
I had a basic Canon camera at first. I didn’t know what all the numbers meant, even aperture. I started experimenting with the flash, and the bounce card. I read up on diffusers. I even bought a little Omnibox for $20. It was taking pictures and instantly seeing what the results were (a huge plus for digital photography.) That’s how I’d learn what worked and what didn’t.
- Why is LA the best place to a nightlife photographer? Every major DJ hits LA as a stop on their tour.
Technology, A Good Friend
I read on a photography forum that someone was making the ultimate diffusing tool for weddings. I wanted to try it in nightclubs. That was early 2005. The original version was gigantic and made of hard plastic. A few months later the same guy came out with the a clear vinyl-coated one. It’s the one I still use today.
Everyone in the club would ask what’s that? At first I wouldn't say what the diffuser was. I eventually told them all where to buy it online and it really started spreading. Every nightlife photographer in LA is now using it. When I go other places in the country, if I’m lucky I might see one. In New York maybe one or two, and they're usually fans I’ve helped.
- Why is LA the worst place to be a nightlife photographer? A lot of people that want to be one, and are willing to work for free. A lot of clubs/promoters prefer the lesser photos of a free photographer instead of paying for good photography. To them it’s not good or bad exposure, it’s just exposure.
Tommy Lee (Yes, that Tommy Lee)
Carl from Pioneer introduced me to Tommy when Tommy played for Giant at Tentation in Orange Country. Instead of Tommy (Myspace) just being a celebrity DJ who is a lousy DJ, he actually makes a difference. With him and Aero together it’s a real DJ gig.
I began photographing him and Deadmau5 more. Tommy saw my stuff and said it was pretty good. He also saw that I wasn’t trying to take candid pictures and sell them to some magazine. He liked that I wasn’t trying to exploit him, and he liked my photography too. Tommy Lee joined up Steve Duda and Deadmau5 (Myspace) to make up WTF? (Myspace.) I’m sort of like their fifth member.
- What’s your favorite restaurant in LA if Tommy Lee is paying? Urasawa. I went for my birthday two years ago. It was extremely expensive but extremely amazing.
How is the rock world reacting to your work?
I haven’t really broken into rock yet. It’s always a goal though. But it’s really strict world too. Not so much with the DJ world, which is nowhere near that corporate. In my nightlife I can take a picture and do what I want with it. I don’t have to worry about as much.
Camera Lenses
I’ve pretty much got every type lens covered. I’ve gotten to the point where I have my final set of lenses to put in my bag for every gig. I have: the low-light, the zoom, the wide angle, the fisheye, the telephoto, and a tilt-shift.
Tilt-shift lenses are really specialized. I’ve been using them in clubs which I’d never heard of. Stuff like that is tough to get working right but when you do get it right you feel like a pioneer. I’m doing something no one’s ever done before and it’s actually working.
- What do you think about the trend of low-fi nightlife photography? It’s just a flavor of the moment. With the hipster photographers, they take a basic camera, a basic flash and use auto settings. They won’t take a picture and say wow this is a beautiful picture. With my work, you get a beautiful picture and it really captures the moment.
What's up for 2009?
There’s been some interest from Tommy Lee, James Zabiela and Robbie Rivera on various projects. Plus there may be something in Japan and box art for a new DJ product. I’ll be doing a lot more touring too. I’m doing a North American tour with Deadmau5 over the summer. We’re getting a tourbus.
There’s also the launch of my poster site. When people want a poster of a rockstar they can go to a store and get one. When they want a poster of Sasha or Deadmau5 they’re out of luck. I’m now selling 20” x 30” shots of certain DJs like Christopher Lawrence (Myspace,) Deadmau5, Sasha (Myspace,) and Junkie XL (Myspace.)
What advice do you have for young photographers who want to do what you do?
As long as you’re using digital you’ve got lots of opportunity to practice. You can take the picture, if it doesn’t work change something. Try out all of the camera’s settings. You can always delete and try again. It’s unlike the film days, where you’d have to wait and see.
Respect the DJs. If the picture looks good but the DJ has a weird face, delete it. If they say no flash or don’t get too close, don’t complain. I see too many photographers storm up on a stage like they own the place. It makes it easy to get banned quickly.
The Gear
I use a Mac on the road and Windows at home. My camera products are all Canon:
- Canon 1Ds MkIII
- Speedlite 580EX II w/ Lightsphere
- Canon 85 f/1.2 II
- Canon 24-70L f/2.8
- Canon 16-35L II f/2.8
- Canon 15mm Fisheye f/2.8
- Canon 70-200L IS f/2.8
- Canon 100mm Macro f/2.8
- Canon 90mm Tilt-Shift f/2.8
---
For a regularly updated calendar of Rukes’ upcoming gigs check out his website. View Rukes' portfolio here.
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This is really great, Caleb.
Thanks Molly! (I suspect you are a raver.)
I love the photos!
"With the hipster photographers, they take a basic camera, a basic flash and use auto settings. They won’t take a picture and say wow this is a beautiful picture."
love it.
That was my favorite line too.
"A lot of clubs/promoters prefer the lesser photos of a free photographer instead of paying for good photography.
Hmmm does it mean my pics aren't good because I'm not being paid?
I should probably take his advice and start looking for a paying job!
It's just a broad statement based on what I have seen. I worked a while for free too, so there is nothing wrong with that and it doesn't say anything about the quality of anyone's photos, it just oversaturates the market with all the "people with cameras" willing to work for free for hookups, and some promoters are pretty cheap, so that sounds good for them.
I'm with ya on this one Tom...not sure whether or not I buy any of this really...
great piece nevertheless Caleb!
Yeah, you got us, it's all made up. We just found some random homeless person, got him drunk and made him write jibberish on a paper, then we translated it.
lol
it has nothing to do with the verisimilitude of the interview...merely the legitimacy of some of your statements
What statements exactly? I'd be more than happy to clairfy some. It was my first interview, so some things might not have come out as clearly as I wanted :)
What statements exactly? I don't mind clarifying some; it was my first interview so some things might not have come across as clearly as I thought.
As unfortunate as it is to say, I have to agree with Drew on this statement. I do photography myself for Plurlife.com. I have a pretty strong technical understanding of photography along with a knowledge of photography principles and concepts. When I walk into an event to take pictures, Im usually walking in with a backpack stuffed with at least $5k+ worth of equipment - by no means would this be classified as:
"a hipster photographers, they take a basic camera, a basic flash and use auto settings. They won’t take a picture and say wow this is a beautiful picture"
However, this goes to back the statement:
"A lot of clubs/promoters prefer the lesser photos of a free photographer instead of paying for good photography."
I have very good equipment and take very good pictures. However, Drew has the best equipment and takes the best pictures. From his perspective, yes, its absolutely true. Most promoters would much rather just guestlist me to come take pictures rather than to pay Drew to come do it simply because they are penny pinchers. I do it soley for promotion of the site Plurlife.com and not just to get into parties for free (Unlike 99% of the "hipster" photographers) and have even found myself having to pay to get into several events. Many promoters spend big dollars on talent, venues, promotion, lighting....etc. But when it comes to capturing the moment, Miss "My parents just bought me a Canon XTi for christmas with a kit lens and built-in flash" will be quite adequate for taking pictures.
So for Drew who is making a living doing this, I can imagine it has had a negative effect on the number of paying gigs he gets. I personally have a strong feeling in this matter just because I've spent a lot of money on equipment, take pretty good pictures (not nearly as good as Rukes.com though), and the chances of me or anyone else on the Plurlife Photography team getting hired to shoot an event is slim to none - which kinda sucks for us. However, to Drew's advantage, there are some major promoters out there that have the resources and have enough taste to hire a professional photographer and he is already working with all of them! So hats off to Drew for that!
Drew,
I've been an admirer of your photos for some time, but have to say you come across as a total jackass in this interview. Since it's "your first" and you want comments, here goes.
To say you are compared to Annie Leibovitz is absurd. Maybe somebody said that, heck maybe it was Vanity Fair for all I know, but that is just absurd and you know it. What it comes down to is you are a nightlife/club photographer. You use existing lighting and maybe supplement with a flash. It's like someone coming back from Burning Man and saying they are Ansel Adams. You shoot what's there, creating in some sense a photo, but your possibilities are naturally limited. You do your work well, but you are not a master of photography, not even close. Nightlife/club shots, yes...photograph or especially portraiture (see: Leibovitz), no.
Second, in any profession you should show some understanding and respect for those who came before you. You were not the first photographer to do this, not even close. Groundbreaking club/DJ photos were being shot when you were still in junior high. Heck, if you think any of what you are doing is groundbreaking, check an old issue of Urb from wayyy back in the day. You'll find your "photos" already have been shot and probably printed ten times before, just different dates, different people, different DJs (not all of them though!). 4 years is nothing in a club culture than has been going strong here in SoCal for nearly 20!
What you are is consistent with most successful people in your 20s. You relentlessly self-promote, self-proclaiming yourselves the #1 . I'm not taking away from what you do and what you've done, because I really do like your work and you do capture the night, but don't think you've pushed the boundaries of club photography, because to those of us who were there, to those of us who have done it before (RS, Urb, LA Times, Time Magazine, NY Times, and a gazillion more) you just come off as a puffed up poof who thinks he discovered American 20 years after Columbus. Fisheye? Tilt-shift? Riiiiiight.....did that and got published all over 10 years ago... Got to agree with you on the newbie "will work for free" kids killing it though. Let them in for free but keep your regular professional snappers (such as yourself) around and happy.
No sour grapes even though re-reading this it comes across as such. Do keep up the good work, just add a dash of humility and watch the world open before your eyes...cheers!
P.S. plurlife: the best equpment does not equal the best photos. A camera is a tool, the mind of the creative person tells it what to do. Beyond the technical limitations of a shitty point-and-shoot, the field evens out and the creativity comes through.
"P.S. plurlife: the best equpment does not equal the best photos. A camera is a tool, the mind of the creative person tells it what to do. Beyond the technical limitations of a shitty point-and-shoot, the field evens out and the creativity comes through."
Completely 100% Agree
Same here. My most famous Christopher Lawrence pic was taken with just a 30D. The only thing newer/better equipment has done is just made it easier to get the pics I picture in my mind, such as many f/1.2 shots which would be MUCH tougher to get on any other camera than my 1Ds. I always say any camera is better than no camera :)
So when people do compare me to Annie, I should tell them to go away? It's not like I decided to make it up. I never said I was a master of photography (I always say the best pictures I will take are the ones right before I die) or even compared myself to Annie in what she does, I only compared myself to Annie in how she interacts with her subjects. I work very closely with the DJs, something nobody else seems to do anymore, hence "close collaboration". I have noticed way too many photogs just want to be friends with DJs just to get hooked up with something. There is a reason why so many musicians choose to work with me instead of the competition.
Nothing wrong with self promotion/hype, especially in this day and age where it does go a long way. I wouldn't do it if I couldn't back it up. The only two photographers in the nightlife industry that have thier own website (and who exclusively put thier own pics up) that get more traffic than me are LastNightsParty and Cobrasnake. However they all shoot people at events (and in a different scene altogheter; the hipster scene), not focusing on the DJs like I do, hence "DJ Photographer".
I never did compare myself now to the past, just the past few years I have been shooting. I noticed pretty much every other photographer now has the exact same setup and never really explores other options or styles. If you have an examples of Tilt-Shift lenses used in live DJ photography events, please share as I haven't found any, and I would love to see some!
Thanks for the comments, don't worry about the sour grapes, saying something, no matter what it is, is much better than saying nothing :)
here's my Tommy pic:
http://www.ulicza.com/Bands/roe090102/content/_DSC2682_large.html
Hey Rukes, any tips for getting through the post-shoot mess of production? I love shooting, I just hate the aftermath of going through the pictures and choosing the "right" ones, then photoshopping, etc. Any advice for overcoming the ennui (that actually makes me hate photography sometimes), would be greatly appreciated.
Thanks.
Drew, I really don’t mean to pick this article apart but I do have a lot of concerns about some of these things that are being said. I will start with that fact that I do love your photography and that I do think it captures the moment, and that you are a worthy photographer to have cover an event. However, Just a couple of questions:
1. “Respect the DJs. If the picture looks good but the DJ has a weird face, delete it. “ What about this picture of Markus Schulz: http://photo.rukes.com/heat16/slides/heat16%20062.html
And this picture of Cedric Gervais: http://photo.rukes.com/heat14/slides/heat14%20072.html
These two shots are not that great, although the rest of these series are good in these two events… still this kind of shows that you are nor following your own advice.
2. This article states: “ ….never planned on becoming a photographer for a living, much less America's top DJ photographer “ And also, I know I have seen plenty of facebook advertisements for you stating you are the #1 DJ Photog (or Nightlight Photog) – Either way the phrase “#1” is used – and to the best of my knowledge, there is no formal ranking for DJ photogs. Where is this self proclaimed number 1 title coming from?
3. In this article, you state: “I used my camera as an excuse to get into clubs for free, get on stage, and to photograph the DJs I liked to listen to, like Hybrid -- they’re one of my favorites.”
Comments after article you state: “I have noticed way too many photogs just want to be friends with DJs just to get hooked up with something.”
Contradiction? Here you not only state that you did not get into photography for the love of the art of photography (and yes maybe you did, and just did not mention that), but you really state you wanted free entry, being on stage…) All due respect, you did turn into a good photographer obviously, but still it would be nice of you to remember where you came from when you follow up critiquing other photog’s for the same thing that got you where you are today.
4. Im not too sure I understand what this next quote means besides comparing your work and amateur work and saying that yours is beautiful because it’s taken by you and not someone with basic auto settings?... I hope I have this misunderstood. “With the hipster photographers, they take a basic camera, a basic flash and use auto settings. They won’t take a picture and say wow this is a beautiful picture. With my work, you get a beautiful picture and it really captures the moment.”
5. You state Tommy Lee liked your pics because, “He liked that I wasn’t trying to exploit him,” You are now selling posters online… Granted, I assume (hope) that the photographed DJ makes money off the posters, but this could also be looked at as exploitation… The poster idea is very good as I can see tons of fans wanting Deadmau5 posters, etc..
6. Lastly in the comments of this article you post, “The only two photographers in the nightlife industry that have thier own website (and who exclusively put thier own pics up) that get more traffic than me are LastNightsParty and Cobrasnake.” Okay, so – I am well aware of a handful of other Nightlife/DJ photographers in many other cities in the US – Did you personally inquire about their website hits to verify that yours is higher?
Either way, I have to say that I agree with much of what Frosty commented about having humility and recognizing others before you who have been doing this for years. I do love your work, I think its great, and I know that many people in the LA area regularly check your site and are glad to have you at the events. Do keep up the good work and I hope you have time to address some of my concerns. Thanks.
Meet Daniel Warrington.
I think what people mean when they compare this dude to Annie is of her concert photography , just a little research and you'll see that she shot for the Rolling Stones , and the alleged quote definately doesnt refer to her work of the last 15 years.
If you want to make a dent in the market , don't believe the BS about having to get all the gear which can set you back $10,000 and up , I see this a lot on forums , people think they will come of as more pro if they have the 'L' lenses , the dedicated flashes. If you are primarily posting photos on the internet at 72 dpi , where the longest side is say, 600pixels , you can get away with the most basic SLR , a Canon 1DS MkIII is way too much .
Daniel Warrington Photography
I shoot this nighclub stuff ^^^^^ , with an old Rebel 6.3 megapixel , the standard 18-55mm lens , which is F3.5 -F5.6 and a non-dedicated Sigma flash. And if you know what your doing you can shoot small JPEG , shooting RAW is overkill.
Now that's if you are a 'Hipster photographer' a term which dude used ,for which i'm completely baffled , I shoot plenty of DJ's that 'are' Hipsters thus making me a Hipster photographer , but I definately know what im doing when it come to settings . In this day and age photographers can't alienate a certain social section , just because its not a 3000+ person capacity venue.
The most important thing ive found is that you have the ability to focus in pitch black , that means your flash is best sitting where its supposed to on the 'hotshoe' , and then the infared beam hits the subject right where the autofocus points are.
In conclusion , I get tremendous satisfaction out of making someone feel good about themselves , whether its some financial analyst donning a t-shirt and jeans and partying , or a broke student stealing drinks.
In conclusion , go buy a used Rebel (original) $200 or similar Nikon or Fuji or Minolta or Sony.
The lens should come with it. A used non dedicated flash with infared ($150) and a little plastic diffuser , don't forget batteries , recharge type.
Now put it on ISO 100 or 200, put it anywhere from 1 second to a 20th of a second depending on how much ambient light there is ( you will get a horrible mix if house lights are too bright) and keep it on F8 , then if you are bad at focusing most stuff will be in focus naturally. Hey presto you're a hipster photographer who knows how to get the most out of lowlight nightclub , flash assisted shooting.
Lets see if they post this comment , this is my third attempt.
Yours ,
Daniel 'The King of Hipster Photogaphy' Warrington.
Oops posted it 3 times
"The only thing newer/better equipment has done is just made it easier to get the pics I picture in my mind, such as many f/1.2 shots which would be MUCH tougher to get on any other camera than my 1Ds"
Self taught is obvious when you make comments like this.
F stops are nothing to do with the camera , it's the lens , you can use a 30D and still get the advantages of a fast F 1.2 lens , The more I read this interview the more I get mad at this self proclaimed pioneer. Tilt shift ? , these are used for architecture.
"If you used film/early digital, and you wanted to go out to the club, the technology wasn’t really there for Low Light photography."
No. No. No.! , this is typical for newbies who aren't trained and know nothing about photography and high ISO film , what do think all the rock concert photographers did in the 60's, 70's and 80's , Annie L. , who I think you've heard of, took the best photos of Mick and the boys , how do you think that happened.
This quote takes the biscuit:
"Everyone in the club would ask what’s that? At first I wouldn't say what the diffuser was. I eventually told them all where to buy it online and it really started spreading. Every nightlife photographer in LA is now using it. When I go other places in the country, if I’m lucky I might see one. In New York maybe one or two, and they're usually fans I’ve helped."
Conceited or what !!!!!!
Drew !!! we are not worthy , thank you for finally telling us all what that thing was on your flash and where to get one , the makers of Light Sphere are for ever in your debt , without you i'm sure they would have faded and gone bankrupt , thank you again , and thank you for holding out for a while.
I have a piece of material attached to my camera , its about 2 inches wide and connects to each side and helps me support the load ,back in the day when people asked me what it was I didn't tell them , then I told them where to find it online , now I see everyone using a 'strap' .
Oh and those round things that are underneath cars and carts and bikes and buggies , that was me too.
I hope someone appreciates my sarcasm , I find it quite liberating.
Aaahhhhh , now go and check some really good Nightlife photography ,
No pics of Tommy Lee here , just proper hard working worthy DJ's
** Please do not expect a reply from me here, if you want to comment about my interview and get a response, email me.**
LAist's policy is that the interviewer can't reply to questions in the comments section, something I found out after a few responses. I am using this opportunity to answer the remaining questions, especially since some have no contact info.
To LynnP76:
1) Those don't look very bad at all. I am talking about MUCH worse. You are giving me examples of how the DJ normally looks; you can't change that.
2) If you go down the list of the "Top 100 DJs", a large majority of the DJs in even the top 20 work exclusively with me/hire me for thier large LA or US gigs. It's pretty easy to say I have a monopoly over people that might photograph for one DJ.
3) I only used it as an excuse for the music to start, it just happens that way to get in for free also gets you stage access. I was mentioning people I have seen in the clubs for years still doing the same thing, while I only did it a few months.
4) I'm talking about the direct flash, over-exposed (or under-exposed), no DOF, no composition, just "capture the moment" in the most basic form type of photo.
5) The prints site are all DJ approved, so the whole idea/pics have to be OK with them first. If I didn't have him telling me to put them up, I wouldn't have.
6) I used Alexa.com to calulate it, it's pretty accurate and even reports much less traffic than it used to (which actually affected my ranking even though my traffic was going up). It's the best you can do publically, but it also helps when some other websites do have a "views" counter on thier galleries publically.
To dw:
"but I definately know what im doing when it come to settings" + "Now put it on ISO 100 or 200, put it anywhere from 1 second to a 20th of a second depending on how much ambient light there is ( you will get a horrible mix if house lights are too bright) and keep it on F8 , then if you are bad at focusing most stuff will be in focus naturally." = epic fail.
1) Self taught is obvious when YOU make comments like that. The camera does help. I would read up on specs first. It's much easier to shoot on a 1Ds at f/1.2 if you have 19 cross-type sensors to use, rather than one center one for the 30D. Those extra 18 help with composition thanks to the selective spot metering, meaning I have 19 points to use as the focus point at f/1.2 instead of being forced to use the center.
2) Yes. Yes. Yes.! Don't forget the maximum ISO that film could really hit was 1600. I never said they couldn't take good pics, but the point where it became easier to shoot low-light digitally wasn't until pretty recent. The lenses were there, and only recently have cameras caught up.
3) Try again.
ar⋅ro⋅gant
–adjective
1. making claims or pretensions to superior importance or rights; overbearingly assuming; insolently proud: an arrogant bore.
2. characterized by or proceeding from arrogance: arrogant claims.
3. see - Drew Ressler.
"I could keep the lights of the club, and keep the DJ in focus so it would look natural, and not like a streaky mess"
Woah ! Ow ! Cripes ! you are scary looking , was that Halloween, nice horror mask.
Rukes: "I dont mind the comments...... sour grapes" ,
oh ha ha ha !ha ha ha ha ha ha lol lol lol lol lol oh oh aha hah ha ha ha ha ahhahheh hee hee hee hee !!!!! omg , hold on hahahahahahahah !hahahahahah ha ha ha ha ha ahoh oh i peed myself....ha ha ha hee hee woah,hahahahahahahah.
Oh man , I hate you , you are so good looking ,
http://viewmorepics.myspace.com/index.cfm?fuseaction=viewTaggedPhoto&friendID=2505491&imageUserID=383417408&imageID=12556242
hahahahah ohohoho hee hee hee thanks man I havnt laughed so much in ages , ha ha ha oh sheeet, ohohohoho hahahahaha !!!!!!!!!!!!!!!!!
http://trainspottr.com/uncategorized/djproducer-deadmau5-public-statement-about-djs-theyre-fcking-cts