If a b*tch gives good head, the only reason she gives good head is because she has given a lot of head. The only way you can become good at something is to do it over and over. Ya see with the good comes the bad. The good is that she gives head like a pro; the bad is you can’t be seen in public with her because she sucked off the whole east coast.
The music business is tough. To quote the late, great Hunter S. Thompson, it is, “…a cruel and shallow money trench, a long plastic hallway where thieves and pimps run free, and good men die like dogs.”
There are few personalities that can handle the rigorous ins and outs of the industry, moreover, find success within the music business. However, Cedric Muhammad, is one of those rare individuals who has endured many trials and hardships within the music industry and he has gained an even sharper business acumen and intellect as a result of his keen observation and hard work.
Cedric was a former manager for the notorious and esteemed Wu-Tang Clan. Since his tenure, he has gone on to start several successful businesses and developed and managed many lucrative partnerships.
I’ve been a fan of your blog and Allhiphop.com editorials for months now. But for the readers who are unaware of you, can you please state what your background in the music business is?
Cedric Muhammad: Thank you so much. Well, I went from being a fan to a consumer and from a consumer to a promoter and from a promoter to a manager. It’s a natural path and I say it like that because I think it is the way any young person can learn business – by looking behind the curtain a bit of your favorite hobby. But I would say concert and party promotion was where I really became rooted in the business side of things. I also credit internships at Uptown Records and especially Flavor Unit for giving me a clear business perspective when I was very young.
What initially sparked your interest in the music business?
C.M: As I mention in my bio video, my big brother got me involved in a concert at his college featuring the legendary Stetsasonic, Raze, and Phase II (house music groups). I worked the spotlight and got to meet the managers and see the business side of entertainment. I was seventeen – from that moment on I realized my place was behind the scenes. I was fortunate enough to give up on a career in rapping earlier than most of my friends.
How did you become involved with the Wu-Tang Clan?
C.M: I actually booked them while I was in college three years before I became part of Wu-Tang management. That’s how I met Mook, who was president of the management company. Years later we had a good laugh when he actually found my old college dorm phone number in his rolodex (laughs). But it was Divine – RZA’s brother who brought me into the management company because he respected the consulting work I was doing and just liked how I rolled professionally and spiritually.
He asked me to give my opinion of the structure and culture of the way things were running and on that trial basis we took it from there. RZA and Divine then paired me with Mook with me becoming the general manager. To this day I am very grateful to all of the clan members and individuals and guiding influences like Poppa Wu who I learned much from as well as other executives like Power. It was a special time and great group of people to be around.
As I stated earlier, I’ve been a fan of your blog for months now and you have addressed some very interesting issues in regards to hip hop. I want to highlight some of the topics that you’ve spoken about in the past couple months.
C.M: Thanks, I’m honored to have your respect. Sure, let’s go.
I have noticed a trend in your writing in which you speak about the decline of the conscious emcee, how the music business is dying and you are in search of a new sound. It appears as if you view hip hop as an ailing genre.
Who is to blame for this? Do you feel the current generation of hip hop and rap fans has different priorities and expectations from the previous generations?
A reader wanted my opinion on if he should give this relationship a shot. Here is the actual question:
“Sup Piff? Ok, it’s like this. I’ve been messing around with this chick and I’m diggin her, but I don’t trust nobody as far as I can throw um. I been her f*ckbuddy for a good lil minute now along with a few other females that have no hope of getting a promotion. But this chick is no trying to get serious. She said she wants the “R” word(relationship). I would normally have no problem at all giving it a shot because out of all the chicks, she’s the coolest one and has a p*ssy out of this world. But there’s one thing buggin me. She has a lot of kids. 6 to be exact. But everythiing so far has been smooth and good. And my problem is I don’t wanna peace her out just over the kids because she might really be diggin me like she says. I kinda wanna believe she is, but my hoodness won’t let me. So what do you think? She said she wants the “R” or nothing. No p*ssy is worth the trouble but she is a good person and might have genuine feelings and I don’t want to do her wrong if that’s the case. So, should I give the “R” a shot or should I peace this chick out?”
I think it’s too many mutha f*ckin kids truthfully. 6 kids is way over the legal limit. She looking for some help with them 6 kids and she see’s you as a perfect victim. If a b*tch got 6 kids, believe me, finding a n*gga to help support those kids is on her mind. Especially if all the kids is young. She could be setting you up for the bullsh*t. I’ve been around some grimey azz b*tches who have actually come out they mouth and said “That n*gga got a good job, Continue reading
I can count on one hand the number of times I have known I should write and build on something, yet didn’t want to. This is one of them. I haven’t even wanted to discuss this subject on the phone with my inner circle. Only three people even know what is ultimately at the root of my thinking on this.
The subject of Jay Electronica, the time of his rise, and his prospects for underground, independent and commercial success, even geopolitical impact, are that potentially serious. A hint to the wise is sufficient.
Sometimes you can hurt someone unintentionally by saying too much. And sometimes the greatest form of humility is not telling all that you know or see on a subject.
But sometimes time demands that you take a chance and risk what needs to be risked in order to accomplish a greater good.
To say that Jay Electronica, creatively, stands between two worlds and eras would not be an exaggeration, if you know the time. Continue reading
It wasn’t easy, but 11 different people have created a list that represents what “we” like to think are the Top 100 Hip-Hop Songs of All-Time. Sure this list can be picked apart within seconds as every other “best of” list, but our process was slightly complex, which should allows this list to relate to the masses. Each contributor had to provide a list of their 40 favorites, giving us a total of 440 songs in our bank.
Then the other contributors would allow 20 passes from that particular list to advance to the next round. We all had to do this for everyone’s list except our own.
We then gathered the selections and voted from the 220 song bank and the results are below. Like I said, it wasn’t easy agreeing and I’m sure a few of us still aren’t happy with some particular tracks ending up on the final list; however as a whole we pretty much came together like the Breakfast Club to deliver what we’d like to think is a damn good list. Be sure to check out the individual “40 Favorite” link to see what we each brought to the table.
So without further ado, I present to you Philaflava.com’s Top 100 Hip-Hop Songs of All-Time.
1. Eric B. & Rakim – Paid In Full
Arguably the most influential emcee of all-time, Rakim’s lyricism took Kool Moe Dee’s new rap language to the Pyramids and back. Illustrating New York street life during the mid 80’s, Ra recounts the tale of a stick-up kid turned Five Percenter on the search for righteous math. Lines like “Maybe I might just search for a 9 to 5/ If i strive, then maybe I’ll stay alive” do much to describe the hopelessness many inner city youth subscribed to regarding the low minimum wage and unimpressive job prospects of the time. The beat is a fresh rework of Dennis Edwards “Don’t Look Any Further,” arranged by Eric B. Well, apparently…
2. Geto Boys – My Minds Playing Tricks On Me
On one of the most unlikely crossover hits in the history of modern music, Scarface, Willie D and Bushwick Bill provide violent tales of paranoia (creating what has become the quintessential song on the subject) over an Isaac Hayes sample that the Geto Boys made sound eerie. The fact that such a violent song was the group’s sole pop hit speaks volumes to the overall quality of the track’s imagery and the mood that is created as soon as Scarface finishes the first line of the intro. Bill’s final verse, coupled with a perfectly dark video, ensure that this song will always be remembered come late October. Continue reading