Yet, the efforts of those who launched companies, climbed the corporate ladder, or capitalized on their artistic endeavors to pursue entrepreneurship are indispensable. The presence of Black power brokers in the music business was not as prevalent 50 years ago as it is today. Thriving off the ingenuity of savvy founders, executives, managers, and enterprising artists, Hip-Hop has moved the global needle and contributed to big business since its inception. Taking street energy and lending its influence and buying power to music, fashion, entertainment, and more. The movement born in the 1970’s from The Bronx, NYC has evolved from its humble beginnings into a billion-dollar industry. Provided you can stomach the Will Smith version of Cassius Clay proclaiming "The champ is here!" about every 30 seconds (Jada's cackle could've been kept in check a little more, too), you should find that it's actually superior to this fine record.Hip-Hop has become a global force, infiltrating various sectors of culture while impacting numerous facets of life. For further proof, listeners looking to go deeper are strongly advised to seek out The Champ Is Here, a teaser mix presented by Big Mike and Green Lantern. No matter the number of bright moments, you can't help but feel that Jadakiss has his best days ahead of him. These issues aside, Jadakiss makes good on his promise to become a rounded lyricist and receives some valuable help in the form of tight production work from a handful of pros - surprisingly enough, Swizz Beatz's work on "Real Hip Hop" tops anything that producer did for Cassidy's debut, and the Red Spyda-manned title track (bizarrely tucked near the end) is Jadakiss' most vicious track yet. This, along with a particularly ill-suited "soft and smooth track for the ladies" featuring a carted-in Mariah Carey as well as a too-familiar-sounding Scott Storch production, is thankfully the only outright blights on an otherwise satisfactory showing. The most startling thing about Kiss of Death is that Jadakiss dumped a bunch of Neptunes productions and kept only "Hot Sauce to Go," one of the record's poorest tracks.
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