Music News

Damage Control

Most Nineties celebrities understand that baring their souls comes with the territory. Your average personality mag is brimming with profiles of famous people who disclose their deepest, darkest secrets as casually as they cash their royalty checks--and the few who don't are viewed with suspicion. For example, Eddie Vedder's reticence to share boyhood memories with every scribe in sight provoked Rolling Stone to dispatch a team of investigative reporters charged with discovering once and for all whether or not he had a good time at his high-school prom.

Kendrick Jeru Davis, aka Jeru the Damaja, is among the last holdouts against this rash of self-exposure. Other than acknowledging that he's from Brooklyn, New York, this hip-hop comer keeps his past behind him. And attempts to loosen his tongue on the topic are met with bared teeth. "I don't tell everyone about myself," he snaps. "I don't know everything about you--and if I tell you everything about me, that makes me vulnerable, right? I mean, what do you know about a ninja--except that when you see him, he could kill you? That's all you need to know. That's it."

Since neither of Jeru's albums--1994's The Sun Rises in the East and last year's Wrath of the Math, both issued by Payday/FFRR--dabbles in autobiographical specifics, the rapper's closed-mouth policy means he remains cloaked in mystery. And that's just the way he likes it. What matters more to him than dredging up his previous experiences for media voyeurs are the philosophies that he's peddling today--constructive philosophies that his hip-hop contemporaries would do well to adopt without delay.

Not that either Sun or Wrath are dry, bookish or pedantic. Thanks in large part to the contributions of DJ Premier (of Gang Starr fame), both discs sound great; their beats are fluid and imaginative, their hooks are plentiful, and their mixes are tough without seeming in the slightest way stereotypical. But what lifts the recordings still higher are Jeru's words, which refuse to capitulate to the greed-and-blood ethic popularized by the Death Row axis on the West Coast and the Wu Tang Clan on the other side of the continent. Moreover, he's not shy about taking his peers to task for the messages they're transmitting. In Wrath's "Ya Playin' Yaself," he complains about "all these so-called players up in the rap game/Got brothers on the corner selling crack cocaine"; on "One Day," he disses the acknowledged kingpin of East Coast rap, Sean "Puffy" Combs, by name; and during "Scientific Madness," he muses, "What is it if a man gains the world/And loses his own soul?" Jeru confronts this last possibility on "Tha Bullshit," in which he does a spot-on impression of hardcore jive. He portrays a wealthy crime boss who's "on some exotic island/Smilin', the sun shinin'/Off all my diamonds/Sippin' off martinis/With hookers in bikinis." Then gunshots ring out, waking Jeru--the real Jeru--from a nighttime reverie. "That was a scary motherfuckin' dream," he mutters. "That was bullshit. I'd never say no bullshit like that."

The voicing of such sentiments in the current music scene isn't just rare--it's practically unprecedented. Rather than gripe about the Tupacs of the world, hip-hop practitioners with more defensible aspirations tend either to keep their opinions to themselves or to offer up the public-relations mantra of the rap world: "It's all good." But not Jeru. "Who likes a yes man?" he asks. "I don't want a yes man on my side, because then I'm sure to fall. Because then everything would be yes, yes, yes. Like if I asked, Should I go sell some crack? Yes. Should I rob a bank? Yes. That's crazy--and if saying that makes me different, then I'm different. To me, knowing about something but not doing anything about it is worse than not knowing at all. So fuck not saying something. If you don't like it, just say you don't like it.

"If you have the power to command a certain army, why would you command them to jump into the river instead of leading them into war? At one time in this country, we weren't allowed to read and write freely and express things. So now that we're allowed to do those things, we need to speak up. I'm not telling these other people to do better; I'm telling them to do something instead of nothing. And what they're doing is basically nothing, because it only destroys. They get a lot of money for themselves for doing it, but so what? Anybody can do that. I could kill and get a lot of money for myself for doing it, but is that positive? You know, people try to measure everything with money, but that's not the way it should be. I don't measure life by the dollar, and I never will."

KEEP WESTWORD FREE... Since we started Westword, it has been defined as the free, independent voice of Denver, and we'd like to keep it that way. With local media under siege, it's more important than ever for us to rally support behind funding our local journalism. You can help by participating in our "I Support" program, allowing us to keep offering readers access to our incisive coverage of local news, food and culture with no paywalls.
Michael Roberts has written for Westword since October 1990, serving stints as music editor and media columnist. He currently covers everything from breaking news and politics to sports and stories that defy categorization.
Contact: Michael Roberts