the mind of dreydnero



practice makes perfect

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.

drey:  aaaaaaaaaaaaaaaaaaaaaaaaaaaahahahahahahahaha…..aaaaaaaaaaaaaahahahahahahaha…


Cedric Muhammad – The Rich, Righteous Teacher

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 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?

Continue reading

more love & life from dailypiff

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

How To Market (and Protect) Jay Electronica (Part I)

 by:Cedric Muhammad

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




Phila’s Top 100 Hip-Hop Songs Of All Time

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’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

Jay Electronica’s Exhibit C: The End of “Genetically-Modified” Hip-Hop?

By Tolu Olorunda   ALLHIPHOP.COM      “Up in them five-star tellies, saying two-mic rhymes/Be them average MC’s of the times/Unlike them/We craft gems/”    —De La Soul ft. MF Doom, “Rock Co. Kane Flow,” The Grind Date, 2004. 

Call him Jay Electronica or “Jay Elec-Hannukah” or “Jay Elec- Yarmulke.” By mid last month, though, most came to know him as the man who could turn on its head the dynamics of commercial, for-profit radio, and forever change the way fans listened to Hip-Hop. With one song: “Exhibit C.”

The hard-hitting, 5-minute cut, recorded in July ‘09, set ablaze the internet, surrendering bloggers and fans alike at the mercy of one of Hip-Hop’s most prolific wordsmiths. Upon hearing it, many popular bloggers were convinced no one else could do the instrumental—which was released via iTunes—justice. Better left untouched. They complained the impeccable cadence of Jay Electronica’s 3 verses, rendered hookless, was matchless and peerless, and any MC or rapper who attempted a remix or freestyle would be playing a dangerous game with their careers. Of course Hip-Hop artists are hard-headed by nature, so a few still felt the need to take the beat and do something with it—in spite of, and perhaps because of, the bloggers’ warnings.

Artists like Jasiri X, Hasan Salaam, and Joell Ortiz were among first responders; some with considerable success, others far from the cut-off grade. But none attained the level of perfection Jay Electronica maintained from start to finish as he transcended rhythms and realms in what is sure to become his signature song.

Jasiri X rightly described it as “bar after bar of consciousness, something that is sorely missing in today’s rap landscape.” Indeed. More than that, it ran laps across fields of the autobiographical (“When I was sleeping on the train/ Sleeping on Meserole Ave out in the rain/ Without even a single slice of pizza to my name/ Too proud to beg for change, mastering the pain/”), the philosophical (“Fighting, shootin’ dice, smoking weed on the corner/ Tryna find the meaning of life in a Corona/ Till the Five Percenters rolled up on a ni**a and informed him/ ‘You either build or destroy, where you come from?’/”), the historical (“That Reverend Run rockin’ Addidas out on Hollis Ave/ That F.O.I., Marcus Garvey, Nikki Tesla/”), the spiritual (“Question 14, Muslim lesson 2: Dip diver, civilize a 85er/ I make the devil hit his knees and say the ‘Our Father’/”), and the phenomenological (“I’m bringing ancient mathematics back to modern man/ My momma told me, ‘never throw a stone and hide your hand’/”). It also brought much to bear on the geographical (“Shout out to Baltimore, Baton Rouge, my crew in Richmond/ While y’all debated who the truth was like Jews and Christians/ I was on Cecil B, Broad Street, Master, North Philly, South Philly, 23rd, Tasker/ 6 Mile, 7 Mile, Hartwell, Gratiot/”) and the anthropological (“Where ni**as really would pack a U-Haul truck up/ Put the high beams on/ Drive up on the curb at a barbecue and hop up out the back like, ‘What’s up’/ Kill a ni**a, rob a ni**a, take a ni**a, buss up/”).

Put it simply, more than a song, “Exhibit C” is a monograph.

Continue reading

Why Ghostwriting Is Good For Rap

By Cedric Muhammad | Tuesday, January 05, 2010 2:01 PM

I will never forget the experience of being invited in the Fall of 1995, by Nas to visit him while he was recording tracks (in November at Sony Music Studios) for his highly anticipated album, It Was Written.

We had been building for over a year since I had interviewed him for The Final Call newspaper, with me visiting him several times at his place in Long Island, first, and then Queens. When we got together it was always to discuss two subjects – his music career (the many avenues he could take in marketing himself after his first album) and the knowledge of self (we watched tapes of Minister Farrakhan and the Honorable Elijah Muhammad and discussed the Lessons). I was honored to have been a guest – meeting his then companion, Carmen (who always was so kind to me), and even his beautiful baby daughter Destiny when she was only 4 days old.

So while I would not claim to be a close friend of Nas, I can say for a nearly 18-month period we had a very Brotherly and always sober interaction (even if he did light it up a lot – smile).

That rapport and respectful interaction, and the way in which I met him, allowed me to have very serious discussions with him and which earned enough of his trust to the point that when I presented a couple of ideas regarding producers or artists I thought he should work with, or entrepreneurs he could do business deals with, he allowed me to make outreach to those camps on his behalf. It was a very informal but forward-looking relationship which I continue to look back on fondly. He was a star then and despite many ups, downs, twists and turns he is now a legend, one of to best to ever do it, Continue reading

djdownloadz. ty.



  • behind da barz

    --------the chemicals R identical, we're one & the same / with 7 letters in all 3 of my government names / walked on water, nah, neither did jesus / its a parable to make followers & readers believers--------i gave her my honorable discharge & she took it like a soldier--------what's a black beetle anyway, a fuckin roach-------she told the director she tryna get in a school-he said "take them glasses off and get in the pool"---------what ya'll call swag to me is faggotry-------my outfit so disrespectful / u go 'head n sneeze let my presence bless u--------its quite amazing that u rhyme like u do / & how u shine like u grew up in a shrine in peru-------its hard fuckin with niggaz u hope u can trust / ure a fool if ure main bitch is easy to fuck--------beyond the walls of intelligence life is divine / i think of crime when im in a new york state of mind - ------THE WAY SOME ACT IN RAP IS KINDA WACK / IT LACKS CREATIVITY & INTELLIGENCE / BUT THEY DON'T CARE BECAUSE THEIR COMPANY IS SELLING IT / ITS MY PHILOSOPHY ON THE INDUSTRY--------From days I wasn't "Abel/able", there was always "Cain/caine-------know how to leave anything in 30 seconds / when you feel the heat coming & flee with the murder weapon--------ayo my silent moments' loud as the crack of thunder / my hunger like the crocodile that attacked the hunter-------i'm something between platinum & flop, underground & mainstream / conscious, backpack, scratch dat; same thing---------this phiscal year im'a stay hot, buzzin / wit dudes that help me shoot like a-rod's cousin-------i fight chicks who bite dicks / give 'em lock-jaw then make 'em fight pits ------all we see is terrorism on telievision ------i'm da illest nigga alive watch me prove it / i'll snatch your crown with your head still attatched to it ------slap your face till your head ache your neck break / the next day slash your throat thru the neckbrace ------ I'm ahead of the game, ahead of these lames / I'm a head case, the head nurse gets me better with brain ------ure now dealin with da kid who heat-holds & reloads / like god gave him a gta ammunition cheat-code ------once upon a time i used to grind all night / with dat coke residue that was ipod white ------ --i took trips with so much shit in the whip / that if the cops pulled us over the dogs would get sick (sniff) ------ i put my lifetime in between the paper's lines / i'm da quiet storm nigga who fight rhyme ------brain cells are lit ideas start to hit / next the formation of words dat fit / at da table i sit making it legit / when my pen hits da paper...aah shit -------i save money while u spendin ure doe / i must stash like da hair between your lip & your nose ------age don't count in the booth / when your flow stayed submerged in the fountain of youth -------when i'm writing i'm trapped in between the lines / i escape when i finish da rhyme - ------if we can't eat together then u aint my mans / so when u see me in da streets dont shake my hand- -----money is da root of all evil / dats why u always gotta now where u stand with your people--------i can show u how to gamble your money, handle a gun / & be a family man & go home to your sun- -------black diamonds in my jesus-piece / MY GOD-------its like da ball be over the plate & they dont call it a strike- ------i'm a gangsta & a gentleman, show you both sides of the coin / knife at your throat-gun at your groin- --------my testimonial be "death to a phony mc / you wanna impress me, show me a ki--------lord knows what homey would do if i showed him da 9 / a one-eyed man is king in the land of the blind--------on da road to riches & diamond rings / in the land of the blind a man with one eye is the king--------you lack the minerals & vitamins, iron & the niacin--------stares get exchanged then the 5th come out / the tough guy disappears then the bitch come out--------if you got a bith you dont argue with dat bitch / you dont listen to dat bitch all you do is fuck dat bitch-------know da bitch b4 you call yourself lovin it / nogga wit a benz fuckin it------went from $20Gs for blow to $30gs a show / to orgies wit hoes i never seen befo'-------i'm intelectual; passed more essays / than police motorcade parades thru east l.a.-------DEAD IN THE MIDDLE OF LITTLE ITALY LITTLE DID WE KNOW / WE RIDDLED SOME MIDDLE-MAN WHO DIDN'T DO DIDDLY-------visualizing the realism of life in actuality / fuck who's da baddest; a person's status depends on salary-------mechanical movement, understandable smooth shit / that murderers move with-the thief's theme--------DEEP LIKE "THE SHINING" SPARKLE LIKE A DIAMOND / SNEAK AN UZI ON DA ISLAND IN MY ARMY JACKET LINING / HIT THE EARTH LIKE A COMET - INVASION / NAS IS LIKE THE AFRO-CENTRIC ASIAN; ½ MAN, ½ AMAZING-------& why certainly i'm squirtin / bust a nut then get up & wipe my dick on your curtain-------walk by your casket & spit in your face--------i know how to get my peers off me / make 'em cry & die from high blood-pressure cuz tears are salty-------i'm not trying to give you love & affection / i'm tryna give you 60 seconds of erection / then im'a give you cab fare & directions / get your independent ass outta here - question?---------black cat is bad luck; bad guys wear black / must've been a white guy who started all that--------either you're slinging crack-rocks or you got a wicked jumpshot--------all us blacks got is sports & entertainment--------2 many athletes, actors & rappers / but not enough niggaz at nasa - ------why did bush knock down the towers?--------I REACT LIKE MIKE / ANY ONE TY-SON, JOR-DAN, JACK-SON / action, pack gunz, ridiculous--------all the teachers couldn't reach me & my mom couldn't beat me / hard enough to make up for my pop not seeing me---------kings from queens, from queens comes kings / we're raising hell like a class when the lunch bell rings---------excuse me miss, can i give you a minute? / may i buy you a glass of ice with liquor in it?--------what goes around comes around i figure / now we got white kids calling themselves nigga / the tables turn as the crosses burn...---------YOU LOVE TO HEAR THE STORY AGAIN & AGAIN / OF HOW IT ALL GOT STARTED WAY BACK WHEN--------i guess they got a grudge cause i won't budge / playin tough, staring down the judge with my hands cuffed---------A CHILD IS BORN WITH NO STATE OF MIND / BLIND TO THE WAYS OF MANKIND--------who shot biggie smalls? if we don't get them they gon' get us all / i'm down to run up pn them crackers in their city hall----------its kinda hard to be optimistic / when your homey is laying dead in a casket----------they say the blacker the berry; the sweeter the juice / i say the darker the flesh; then the deeper the roots---------i took your breath away then we'd perform cpr---------there's no real way it can be explained / i guess its just the way i smile when i hear your name--------CASH RULES EVERYTHING AROUND ME / C.R.E.A.M. GET THE MONEY, DOLLAR DOLLAR BILL Y'AAAAALL------------see I’m a poet to some, a regular modern day shakespeare / jesus christ the king of these latter day saints here / To shatter the picture in which of that as they paint me as / a monger of hate and satan a scatter-brained atheist--------i remember marvin gaye used to sing to me / he had me feeling like black was the thing to be------------this be that put-you-out-your-misery song / that makes you ask your man 'is this the joint he's dissin me on?'---------foul all your life now ure 90 / on ure death bed u regret being grimey---------INDUSTRY RULE #4080, RECORD COMPANY PEOPLE ARE SHAAADYYYY / so kids watch your back cause i think they smoke crack---------society's a weak excuse for a man-----------planet earth my place of birth / born to be the sole controller of the universe---------the mic had my prints, on on it was a body---------a squealer tells, but the dealer still sells---------some young male put in jail / lawyer so good his bail was on sale----------i'm just takin a piss......unless you're gonna do it----------fuck street clothes, we thug it out in tuxedos / stomp niggaz with hard bottoms in casinos--------people higher up have the lowest self-esteem / & the prettiest people do the ugliest things-----------IF YOU ADMIRE SOMEONE YOU SHOULD GO 'HEAD & TELL 'EM / PEOPLE NEVER GET THE ROSES WHILE THEY CAN STILL SMELL 'EM-----------goddamn, what a nigga gotta do to make a million / without the fbi catching feelings--------i got a story to tell / in these streets we got drugs & guns for sale---------we keep the nine tucked chop dimes up rap about it / wild out fuck niggaz up laugh about it---------- read between tha lines of ya eyes and ya brows / ya handshake aint matchin ya smile---------what the fuck i rap for? to push a fuckin rav-4?-------fuck all the glamour & glitz, i plan to get rich / i'm from new york & never was a fan of the knicks----------the white boy blossomed after dre endorsed him / his flow on renegade-fuckin awesome...applaud him-------before i start you know i gotta / pay homage & respects to afrika bambaata---------DRUGS IS THE KEY TO SUCCESS / MONEY IS THE KEY TO SEX------i pimped my crib so i must exhibit------- I - WILL - NOT - LOSE !
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