THE LARRY DAVIS SHOW
“Rambo Rocks The House”: my 1988 Village Voice cover story on the notorious Bronx gunman.
By Barry Michael Cooper
Published in the Village Voice: November 28th, 1988
Rambo Rocks the House
“The night the police came,” Larry Davis smiled, “I was watching Rambo on my VCR.”
Davis and I were sitting in the visitor’s area of the Metropolitan Correctional Center in lower Manhattan. The MCC is a large fortress filled with orange paint, thick Plexiglas partitions, and steel doors that constantly buzz, click, and whine like robots in heat.
Davis had entered the visitor’s area through one of those doors, shackled along the wrists, waist, and ankles, a postmodern Kunte Kinte in federal prison browns. He was trailed by five male guards, one of whom held a video camera to record his departure from the holding area. Even in the joint, Larry Davis is a star.
“Sometimes,” Davis said quite seriously, “it’s good to pay attention to movies, because you get what’s really happening.”
Before the movie ended on November 19th, what was really happening in the apartment overwhelmed what was playing on the TV screen: Davis, who was wanted for the slayings of four suspected South Bronx crack dealers, faced down almost 30 cops in one of the wildest shootouts in New York history. It was all over by nine, in time for the 11 o’clock newscasts to begin to make Larry Davis an outlaw celebrity. it was the night he became the talk of the town: a muscular young black man bursts his way out of a small apartment seiged by a 27-member team of armed police officers, wounding all of them in the process. It was the night he became an urban legend, a black Billy the Kid, an adolescent gunslinger outshoots an army of cops and lives to tell about it. It was the night Larry Davis became a star.
In the weeks after Davis shot the six cops, faked out the costly, nationwide manhunt for 17 days, and held a major portion of the NYPD to a standoff in the Twin Parks Houses near Fordham Road, huge black-and-white mug shot-like photos of a starry-eyed, baby-faced killer adorned the front pages of the tabloids under headlines like “They Won’t Take Me Alive” and the local news anchors excitedly invoked his name at the top of every show. He was all the talk between assistant D.A.’s and reporters during court recesses, between rap DJs and MCs during songs at the Latin Quarter, between old Jewish women and their doormen on the Upper East Side. Did Larry Davis shoot and kill dopeboys and take off crack spots? Did he really decide (as a cop testified) that it was too crowded in his van one afternoon, and casually order a flunky to kill a man sitting in an orange Toyota for the extra room? Did he really cook a Chihuahua and eat it?
I started getting phone calls from friends who couldn’t stop talking about the B-boy renegade from the South Bronx. “That kid used to rock the fresh jams in the summertime in the P.S. 145 schoolyard,” one buddy remembered. Another told me that, in addition to playing cops and robbers, Davis had stroked the keyboards on Goldie’s Hot Tracks,” a hip hop show on Manhattan Cable. I was told that Davis also sang, danced, and virtually, “turned the show out.”
Some of Davis’s acquaintances later told me he used to watch a videotape of that show over and over in his bedroom—a space that was packed with drum machines and keyboards and doubled as an eight-track recording studio—with “that look” on his face, a sly grin and a faraway, star-struck expression. Family members say it’s the look he had playing drums for the choir of the Rapture Preparation Church on Crotona Avenue in the Bronx. It’s the look of an impressionable young kid who sees his name in lights on the marquee of a hit movie with a long line, or his face 70 feet high inside the darkened theater, with the crowd screaming out his name.
Larry Davis had a different expression on the morning of December 6, 1986. Not that he’d lost top billing; as if they were watching the final installment of a hit miniseries, many New Yorkers sat in front of their televisions, mesmerized through the wee hours, waiting to see if the police platoon, armed to its teeth, would kill the freaky-dangerous 20-year-old holed up in the Bronx.
But as the winter sun climbed into the sky, Larry Davis surrendered peacefully, taken away amid a swarm of helicopters, a heavily armed NYPD battalion, city officials, reporters, detractors, and hero worshippers. As the short, muscular, and leather-jacketed fugitive climbed into the paddy wagon, bathed in the jubilant but, at least in some quarters, sarcastic chant of “Lah-ree! Lah-ree!” rising from the courtyard of the Twin Park West housing project, his face registered foggy apprehension and uncertainty. In lieu of the faraway gaze of the visionary, Larry Davis had the glassy-eyed look of a little boy who had woken up in the middle of a nightmare.
But instead of the customary head-in-the-jacket running crouch of the arrested criminal, Davis kept his head high, his face visible to the TV cameras, as he was hustled through the courtyard.
Just before the cops carried him off, he made his now-famous declaration: “It’s a good thing to sell drugs. The cops gave me the guns.”
To would be revolutionaries, Larry Davis was Richard Wright’s Bigger Thomas come to life, a South Bronx native son, a mindless killer spawned by white racism, poverty, and hopelessness. To black nationalists, Davis became a figurehead, an explosive life-sized model that defined the movement’s heartbeat: the oppressed striking back at the oppressors. To old lefties, Davis was a throwback to the Weather Underground and the Black Panthers;
William Kuntstler, who took over Davis’s case from a Legal Aid lawyer, said to me, “Any black guy that shoots six cops and puts the fear of God in police officers, I think is great.”
After the police killings of Michael Stewart and Eleanor Bumpurs, and the frustrated rage over the Howard Beach incident and the Tompkins Square Park riot, Davis’s stand against the police served as a metaphorical wheel of justice: whatever goes around, comes around. But much of white New York—and a significant segment of the black population—saw him as a real-life monster too true to be good; a heavily armed creature from the Bronx lagoon.
In all cases, Larry Davis lost his identity to become an ideal that is reviled or revered: Public Enemy and Soul Brother Number One, and nothing more. Mere publicity and hype to justify the ends of each group’s own means. But Davis would never object to being exploited: it soon became apparent that Larry Davis eats hype like some kind of weird food. Not long after he was captured, he began calling newspapers—most notably The City Sun and later New York Newsday—to give his version of his story. “Write this,” he would instruct reporters. If they added details that didn’t please him they would receive phone calls chewing them out. And if here stories didn’t appear, he would refuse to grant them further interviews.
Gradually, a truer portrait of Larry Davis emerged between the lines of the media frenzy. Here was a young kid. a semi-illiterate high school dropout who spent his time chillin’ on street corners but who felt a burning need to be known, to be recognized, to be listened to, to be larger than life. His plans to be a pop star fizzled and his street scrambling produced only a shadowy local celebrity. Then, all of a sudden, he was on the top of every New York City broadcast. What did that do to him? What would it do to anybody? Your heart would pound like a bass drum and your skin would be drenched in cold sweat, knowing you are in the biggest trouble in your life. The rush would play in your mind forever.
Larry Davis didn’t have to use his imagination. The newspapers he read every day replayed the images: they courtyard crowds, the mayor, the police commissioner, the cameras, the lights, the cheers and jeers, the “The cops gave me the guns.” it was splashed across the front pages and he fell in love with it, tumbled into it, became one with it. With the flick of a camera shutter, Larry Davis became the New Narcissus.
In the street, the Davis legend is very real; Sunday’s triumphant verdict pumped his image larger than the Superman balloon in the Thanksgiving Day parade.
The inner city now gazes up at him with a mixture of victimized fear and vigilante pride. It reminds me of a hood from my teen years, who I’ll call “Igor Jackson.” Jackson was the scourge of 148th Street and Eighth Avenue, a wild man fueled by angel dust and barbiturates who killed because it amused him. He was a legend on the streets of Harlem in 1977 because he made more than a few victims — mainly the teenage operatives of heroin kingpin Leroy “Nicky” Barnes — get on their knees and beg for their life, only to see Jackson smirk and savor his response, a cold, dry, “No.”
Like Igor Jackson, Larry Davis personifies a running character in rap music: the cartoonish hood LL Cool J portrays in “I’m Bad” as he taunts cops, buries the faces of musclemen in the sand, and wears a gold nameplate that says, “I Wish You Would.” In a bizarre sense, Davis fulfilled the ultimate goal of any young inner-city black teen who practices rapping over long hours with a micraphone and a tape deck: to develop a voice, to make that voice heard beyond the confines of the street corner — as Big Daddy Kane brags in ‘Set If Off,” “Your vocals go local/on the m-i-c/Mine go a great distance/like A T and T” — and most importantly, to make those listening respect that voice. Davis had accomplished all three and his delivery was loud and bloody.
To those whose only knowledge of rap comes from watching the movie Colors or minicam reports after concert riots, Davis is the final, dreaded proof; the incarnation of the rap ideal, the bloodthirsty, nigger teen with a $3000 gold cable around his stiff neck whose only goal is to put heads in graveyard beds and cold-snatch money like the feds. But to the makers of the music, Davis — who had his own record label for a while, Home Boys Only — is the freakish exception, a flesh-and-blood lyric taken too far.
in my secret moments, in the midnight of my living room, as the Sony earphones fill my ears with Big Daddy Kane waiting for the fake gangsters, “front artists,” to taunt and step to him so he can destroy them like “Jason” from Friday the 13th. I live vicariously through the sonic violence. It’s a release, a shot of dope that makes my blood race. Kane’s tune “Ain’t No Half-Steppin’” gives me foolish courage every time a young sucker-punk busts a series of clips from his Beretta from the crackhouse from across the street. The tune, and maybe even the streetcorner bravado of Larry Davis, whisper twisted, suicidal words of encouragement to me: “If you had an Uzi, you could take care of that problem across the street.” But the line is drawn when I remove the headphones — the violence belongs on the vinyl.
But for Larry Davis, the music never stopped. The sound panned from a Bronx schoolyard full of junior high school kids dancing to the music on his two turntables to a small Bronx apartment full of cops collapsing to the beat of bullets tearing through their bodies.
A tour of the South Bronx would convince anybody that Davis’s tale of night-crawling, street-racketeering, and dealing drugs for dirty cops is possible — in fact, if Davis wasn’t doing all he claimed, somebody is definitely is for some cop up there. The Bronx is a very big small town, a mesh of hills, valleys, concrete atolls, and dead ends. The streets are narrow, the city blocks wide, and the tenements, row houses, projects, and co-ops prop each other up. Flashing patrol-car lights provide 24-hour illumination; police and ambulance sirens mingle with hip hop, salsa, reggae, soca, and r&b like the fragmented strains of some strange carny pipe organ. The Bronx is a sprawling, Third World, urban fun house.
The raggedy cityscape of East 169th Street is a perfect movie set for the type of clandestine meetings with corrupt cops that Davis describes. Fat and grimy Chevy vans dot the quarter-mile stretch of five-story urban wasteland like rusty camels — who knows what’s going on inside? Grant Avenue has so many abandoned pre-war buildings it looks like an estate of haunted houses. You can feel the action you can’t see: the teen scramblers who bring the crackhouse whores here for tag-team sex. who lure the snitches and rival crack czars for no-name murders; the crackheads who burrow into dank basements to get high and talk to Scotty on the Enterprise.
Not surprisingly, Davis gets a vote of confidence from a young kid I saw hawking “jums” — the abbreviated term for jumbos, the larger pieces of crack — on a 147th Street and St. Nicholas Avenue. “The cops were comin’ to kill that kid that night,” he told me, “and Larry wasn’t with that program. He was about to expose their whole joint, and they had to keep him from speakin’ on it. This crack money is crazy large out here, and you know Five-O is getting put on to all the action. Drugs flow so freely in this neighborhood, it’s like they legal. I know — I’m out here every day.”
Davis’s firefight may have set a violent precedent, declaring open season on cops. In recent months the word on the street is that cops — from Officer Ed Byrne in Jamaica, Queens, to Officer Michael Buczek in Washington Heights a few weeks ago — are not superhuman.
Teflon-coated bullets, now available in the inner city, are made to pierce bullet-proof vests. And not everybody agrees who wears the white hats: with the long standing belief that New York cops are racist and the recent corruption in Brooklyn’s 77th Precinct and allegations of police abuse in Queens’s 113th, many in the black and Latino communities are disgusted with New York’s Finest. They feel it’s more likely than not that the South Bronx cops are dirty, that Davis was working for them, and that they came to murder him because of what he knew.
To say Larry Davis is intense is an understatement. The day I interviewed him in the Metropolitan Correctional Center, the guy not only stared me down, he appeared to look right through me, and then discard my bodily contents. It reminded me of somebody chewing all the sugar out of a stick of Juicy Fruit and throwing it in the garbage. Davis gave the impression he regards reporters as nothing more than inquisitive ectoplasm that collect and distribute information.
But Larry Davis is no psycho killer.
Davis is more insular than he is callous, more calculating that he is crazy. Prince, another self-invented idiot savant, treated me the same way when I interviewed him in 1980 at the Westbury Hotel after the release of Dirty Mind.
There he sat (dressed in a gray trenchcoat, black stockings, and black bikini briefs), calmly reanimating his mythos for me: how his mother was white and his father was black, how he was the servant of both the LORD GOD Almighty and “the Other,” how all of his songs were autobiographical, even the incestuous “Sister.” When I pressed him for details, he slyly told me, ‘the clues are all you need to know.” As he continued his presentation, I began to laugh. The expression on his face changed from surprise to indignation to a self-realization that finally caused him to join in the laughter.
Like Prince. Davis spun me a yarn. He told me how he worked for the cops taking off crack spots, and then sold the drugs. He told me how he woke up one fine day in the Bronx and it was revealed to him that he was wrong, how “through the mercy of Allah, I realized I was brain dead, and I was going to tell the world I was wrong to work for those drug-selling policemen,” and how the cops came to hunt him down at his sister’s apartment to silence his Redemption Song. When I remarked to him that this was the same rap he gave The City Sun’s Peter Noel, and Newsday’s Len Levitt, Davis began to lose his patience. When I asked him to elaborate on the details — especially his whereabouts during his 17-day flight from the authorities — he told me pointedly, “Homeboy, you gonna have to wait for the movie.”
After giving me that look, he and I laughed. But the joke only served as another smoke screen: the interview was over and the real Larry Davis remained in the shadows. Looking at his expressionless face, I realized that was the way he wanted it. All I saw was a blankness that defied filling in. Is he Adam Abdul Hakeem — an Islamic name which means “lifeblood, servant of the wise” — the young, studious, and natty Muslim convert who sits quietly while others accuse him of mayhem and murder, and then sobs softly when vindicated?
Or is he the frenzied madman who slashed at the Department of Corrections from the inside for 367 days — allegedly assaulting guards, spitting and throwing urine at them — eventually forcing a transfer to the higher security MCC, the federal facility in lower Manhattan?
According to those close to him, Davis is more like Prince than Charles Manson. Once acquaintance told me, “Larry is a musician. That guy knows sound.
He’s written 200 great songs, he’s a singer — he sounds like that old guy, Billy Paul — keyboard player, arranger, producer, everything. He had a studio in his house. I couldn’t understand the sound he got from his room, from just an eight-track channel mixing board — it sounded like a 24 or 36-track recording studio.” The man speaks the truth. Davis’s bittersweet, Philly soul ballads “Silly Love” and ‘Loving You Is So Beautiful” could very well score on the music charts. His hard rocking hip hop tunes, like “I Ain’t No Popeye” and “Vultures of the Subculture,’ melodic and rhythmically complex songs written almost three years ago, still seem far more advanced than most of the music on current radio. So is he a disillusioned auteur who turned to wildstyle glamour when he failed to land a contract with a major label?
With Davis, like Prince, there are precious few times you are able to find the chink in the calculated persona, to see the true, naked person living behind the costumed exterior. It took me a few months of interviews with Davis before the moment came along. About three weeks before the acquittal in the first trial, he started bugging me for some portraits Voice photographer Joe Rodriguez took during the MCC interview. Since Rodriguez was busy with another project, I couldn’t get the photos. During the recesses, or even when court was in session, Davis would turn around and mouth to me, “Where are the pictures?” outlining a frame in the air with his fingers. All of the spectators looked at me, wondering, “Who is this guy and why is he so important to Larry Davis?” Embarrassed, all I could do was shrug my shoulders. Davis would wave his hand at me disgustedly.
Our Tom and Jerry routine went on for almost two weeks. Finally, during a lunch break, I coughed up the goods. As I handed the white envelope to his co-counsel, Lynne Stewart, Davis grinned. “Yo, man, come and see me,” he said in a stage whisper. “Let’s talk.” Davis smiled so wide, I thought his face was going to break. He took the pictures out and studied them. One by one. I had seen the pictures: four 8x10s, stark black and white close-ups of a young black man in an orange box with no escape hatch. Davis’s smile faded slowly and he stiffened, as if he was unable to move.
Larry Davis was born on May 28, 1966, the youngest of Al and Mary Davis’s 15 children.
The couple drove up from Perry, Georgia in 1952 and settled into a weather-beaten white row house on Woodycrest Avenue in the southwest Bronx, a working-class neighborhood with clean, narrow streets and well-kept playgrounds. “Larry was a big and playful baby,” says Betty Patron, his oldest sister. “He was born big, a baby with big muscles.” Al Davis — who died a few months ago — supported his growing family working as a plumber, while Mary took care of the home and children.
Al Davis moved out around 1976; some say he left because of the pressures of raising such a large family (it would later grow to include more than 42 grandchildren). Davis, with a note of sadness in his voice, told me the two of them have stayed in contact. When I asked Davis if his father visits him in prison, he eyes fell, and he looked less like a slick new jack who shoots cops than a sad adolescent who is waiting for someone to come and take him home. “No. I don’t call him,” he replied. “My father would visit if I call him. I don’t call him, because it’s not not his position. Me being a man, I gotta face what has to come, or what won’t. I don’t feel that’s his position.”
Larry was 10 when his father left. Mary struggled on without Al, opening a thrift shop near the house and taking in foster kids, runaways, and homeless children. As her elder sons turned to crime (all four of Larry’s older brothers eventually served time for charges ranging from theft to assault), Mary Davis became increasingly devoted in the Rapture Preparation Church in the Bronx. Larry, who often went with her, had sung with the church choir since he was seven. By the time he was 10, he was also playing drums and piano for the group.
But after graduating from fifth grade at P.S. 73, the bad times began to roll. He went to J.H.S. 145 where “he was not a good student,” according to principal Bernard Krasnow. “He didn’t come very often. When he did attend he was usually in trouble. He was quite an aggressive young man.” After a teacher found Davis with a weapon — officials can’t remember if it was a knife or a gun — the 12-year-old was transferred to J.H.S. 147. But “he was only here a couple of days,” recalls principal Calvin Hart. Later, Davis was transferred to P.S. 58, a special education high school in Manhattan. At 14 years of age, he disappeared from the school system altogether.
By 18, Davis had supplemented the weapons charge at J.H.S. 145 with arrests for resisting arrests, possession of a hypodermic needle, and harassment. His harshest fine was $60, which he paid; he never served more than 24 days in jail.
Despite its problems, the Davis family remained close and large-hearted. Charlie Addo, a 39-year-old Ghanian musician and part-time cab driver who boarded at the Davis house for a year (until just after the shootout), remembers Mary Davis as a kind woman who occasionally shared her private pain with him. “She used to tell me, ‘It would be a mess without me. They’d kill themselves without me.’ Sometimes she falls apart because she goes through so much. But she’s very strong.”
Addo’s fondest moments of the Davis house were the times he and Larry watched videos in the Davis bedroom. “Eddie Murphy in Beverly Hills Cop was one of Larry’s favorites,” says Addo, “because he liked to laugh. He also liked watching Rambo.”
Even at 14, when Davis’s criminal career began, he exhibited his technological talents by fixing friends scooters and motorcycles and hooking up audio systems for neighborhood jams.
In 1981, Davis was caught riding a motorcycle without a license in his neighborhood. According to Davis, instead of issuing a summons, the officer who stopped him offered him a chance to sell and transport cocaine to be turned into crack. Davis claims he didn’t immediately jump at the idea. (The officer, who has denied Davis’s allegations, refused to be interviewed for this story. He would only say, “Larry’s blaming everybody under the sun. But I get to sleep at night.” According to the NYPD head of Internal Affairs, an investigation into Davis’s claims of police corruption stalled when his lawyer, William Kunstler, refused to let Davis cooperate without the assurance that the information provided would not be used against him in court.)
Davis claims he discussed the deal a few days later with his buddy Rick Burgos. The two were close; Davis was the bossy older sibling, and Burgos was the loyal sidekick. Davis even bragged about Burgos’s fidelity to a confederate on a wiretap during his time on the run: “Yo, Rick will do 30 years before he talks.” Burgos had idolized Davis since hearing him kick bass tempo on Run-D.M.C. records in the playground of P.S. 145. Like Davis, Burgos — a short, scrappy kid with squinty, Humphrey Bogart eyes — came from a large family and started fighting the law at an early age. At 14, Burgos was arrested for spraying grafitti on the D train, and was sentenced to clean Crotona Park every other weekend for six weeks. In August 1986, he was accused of robbing and shooting a man at the White Castle on Webster Avenue.
Both Davis and Burgos knew that crack was catching on in the Bronx and Manhattan faster than the Asian flu. Whether it’s smoked in a glass pipe or mixed in a joint with reefer — the “woo-woo” or “woolahs” — crack hits are not only highly addictive, exhilarating, demoralizing, and deadly, but also big biz. A seasoned hustler who could sniff out money and opportunity, Burgos told Davis to go with the program and make the “stupid” money.
Guys from my generation would’ve killed for the illicit carte blanche that Davis and Burgos claimed they enjoyed after they went into the business with the cops. Imagine — that is, if what Davis and Burgos are saying is true — using crackheads to make crack in basehouses throughout the Bronx like mad scientists in abandoned ghetto labs. Imagine breaking the law, with the law enforcers’ blessing. Imagine making piles — “coming off” — and Being Untouchable. Friends say the young “stunts,” the gangster groupies, went crazy over them like rock stars, while the fellas whispered and pointed at them with fear, envy, and admiration. It was almost like a bad joke; they dealt drugs and they couldn’t get arrested.
But the sweet scene turned sour on October 30, 1986 when four suspected drug dealers were shot to death at a brickfaced apartment building. 829 Southern Boulevard.
According to Davis, he had been in Norfolk. Virginia, for about two weeks, intending to buy his mother a house. If this were true — and Davis did come up with an alibi in the form of a Norfolk woman he was friendly with — it would make it impossible to place him at 829 Southern Boulevard on October 30. But after questioning by the prosecution before the first trial, the woman was unsure as to exactly when Davis was in Norfolk. Davis’s lawyers, Kunstler and co-counsel Lynne Stewart, filed a motion stating that the prosecution had intimidated her and placed doubt in her mind, thereby ruling out the possibility of her testifying at the trial.
Davis had additional problems in his first trial, and one was Charlie Conway. Many courtroom observers were surprised that he testified, including Davis. In a wiretapped conversation, Davis is heard explaining the finer points of street silence to Conway’s son, “Little Charlie”; “Your pops don’t talk man, that’s what I like about him. He do not say shit.”
Big Charlie proved Davis wrong. He denied his willingness to testify was connected to any agreement that would help him out with his parole board (he’s currently serving an armed robbery sentence); instead he told the court, “I am tired. I’ve been involved with crime a lot of years, you know the dates. You went back to like ’65. I am really tired.”
Conway’s underworld weariness had not taken effect when he met Davis in 1984 through his son, Little Charlie, who was a student at J.H.S 145 with Davis. Big Charlie Conway, a former U.S. and merchant marine, testified he taught Davis how to bore out the barrel of a .45, making it difficult to trace. (Davis told me that the police showed him: ‘I got all my training from the police. They taught me how to bore out a gun.”) Conway also spoke of a meeting with Davis and James “J.J.” Patron on October 31, 1986 — the day after the murders of the four suspected drug dealers. That morning there was a knock on Conway’s apartment door. Conway asked who it was, and a voice replied “Rambo, Rambo” — Davis’s nickname. Conway let Davis and his nephew inside. In this meeting Davis asked the elder Conway if he’d seen Burgos. Conway said he hadn’t. Davis then told him, according to Conway’s testimony, “You all should have come up with us last night because we came off.” Patron then displayed a bracelet to Conway, and Davis said, “We had to pap-pap-pap these four guys.”
“Yeah man, one guy jumped on Larry’s back,” Patron chimed in, according to Conway’s testimony. Patron allegedly added that he shot one of the guys and then took all four men into a room where “Larry took care of them.”
There were inconsistencies in Conway’s testimony. He seemed confused on names, dates, and places of past crimes. On one occasion, defense attorney asked Conway if he recalled an NYPD badge found in his apartment, and if was given to him by Larry Davis; Conway answered yes to both questions. But under questioning by assistant D.A. Brian Wilson, Conway said it was a security guard badge that Davis had given him in August 1986.
Between the time of the Southern Boulevard murders and the November shootout with police, Davis shuttled from place to place. Aside from various friends, he either stayed with his mother, his girlfriend Melody Fludd — the mother of his daughter Larrima — or his sister Regina Lewis.
His lodging at Joe and Regina’s was the source of many arguments for the couple. Joe Lewis, a stocky private sanitation worker, didn’t like the fact that Davis stashed guns, blocks of cocaine in plastic bags, and large sums of money in their tiny apartment at 1231 Fulton Avenue; Lewis feared for the safety of his three young children, Joe Jr., Krystal, and Ravon. After one disagreement iint he early fall of 1986, Regina reluctantly asked her baby brother to leave. Lewis soon reconsidered and welcomed Davis back into his home a few weeks before the shootout. Davis returned with the guns, drugs, and money in tow.
In early November, according to Burgos and Davis, the cops gave them 40 kilos of coke to sell to a Columbian dealer. Davis told me he met the Columbian and exchanged the drugs for $1 million in a suitcase. Both say that they kept all the money instead of handing the cops their share. The police “became worried” about Davis, Kunstler asserted later; “One, that he might tell on them, and two, that he took their money.”
On November 19, 1986, Davis, Melody Fludd, little Larrima, Joe, and Joe Jr. were in the apartment watching a cassette. Although Davis remembers it being Rambo, the Lewises say it was Romancing The Stone (another example of Davis’s self-mythologizing?). Meanwhile, the other children, Krystal and Ravon, were playing in a rear bedroom.
Regina Lewis was on the phone in the front of the apartment when she saw the front doorknob begin to twist. She thought it was probably her prankster sister, Helen Mendoza, who lived next door. Regina got up, went to the door, and opened it just a crack. “Who lives here?” came a voice from the other side of the door. Curious, Joe Lewis got up and went to the door. Through the crack, he could see a brace of police officers with shotguns and flak jackets. They questioned Lewis for a second or two until they spotted Davis on the sofa: Davis saw them about the same time and made his move to the back bedroom.
“Somebody ran,” shouted one of the officers. About 13 cops rushed in, filling the tiny apartment with armed men. According to Regina Lewis’s testimony, no one produced a badge or a search warrant, not even Captain John Ridge, who backed her off iinto the kitchen, and told her to get on the floor.
She began to scream. Sergeant Edward Coulter, who was called to testify by Davis’s attorneys, continued Regina’s account, saying, “All I could do was hear her screaming. There was a lot of screaming going on.”
The police hustled Joe Lewis, Melody Fludd, and her daughter out of the apartment. Joe said he wanted to run back and get Krystal and Ravon. “But there was no way to get them,” he recalled. “That’s where they were shooting.”
In the back bedroom, Davis said he pushed Krystal and Ravon under the bed. Davis also said that Detective Thomas McCarren — who William Kunstler maintained at trial was the dirty cops’ assassin — was the first officer he saw. “He ran in the back and asked me, ‘Where’s the money, where’s the money?’,” Davis told me. “I said, ‘I got your money, just don’t hurt my family.’ He was trying to act like Scarface or something. Next thing I know, his gun goes off, and he skinned the top of my head. If I get a close haircut, you can see the scar. So I shot back.”
Sergeant Edward Coulter testified that he was standing behind McCarren when Davis was desperately rummaging around the room for a gun.
“The detective [McCarren] kept yelliing, ‘Police, come out with your hands up.’” Suddenly, McCarren yelled, “Get back, he’s got a gun” and waved his arms desperately, falling backwards into Coulter. Coulter claimed Ravon, Larry Davis’s three-year-old nephew, then walked out of the bathroom. “I can draw you a picture of this kid today,” Coulter said on the stand. “The kid walked out of the bathroom, made a right, and started into the bedroom and as the kid got to the bedroom entrance, I heard an explosion.
The guy fired a shot at us. We started to retreat. I…I don’t know if that’s the shot that hit the detective or it was a second shot or a…The gunfire, it was unstopped gunfire, just sounded like the range.” Coulter described shooting wildly through the walls of the bedroom at Davis, whom Coulter says he never saw.
Just as dramatic was the second-trial testimony of Officer Mary Buckley, who was shot in the mouth. On a wiretap recorded during his 17 days on the run, Davis told a friend that after Buckley said, “Freeze, you fuckin’ black nigger, I’m gonna blow your fuckin’ ass away,” she caught a bullet “in her mouth.” (Buckley has denied the slur.) Buckley, who has received more than 135 hours of dental work since the shooting, gave a visceral portrayal of the action. “It was like a knife cutting into my lip,’ she told the court. “I realized that I was shot, and I thought I was going to die on some strange floor. I could feel all my veins turning to ice.” Within minutes, however, Buckley said she felt “very peaceful. I started to think of my daughter. She was nine at that ime, and I didn’t want to leave her.”
Regina Lewis testified that after the six wounded officers retreated from the apartment, she ran to the bedroom and retrieved Ravon and Krystal from underneath the bed. “I started screaming because I heard the door open,” Regina Lewis told the court. “I thought the police were coming back in. And Larry said, ‘It’s me.’ I said, ‘Please don’t start shooting again.’”
Davis darted out of the front door of the apartment. Outside, he spotted a few more policemen, and sprayed the hallway with gunfire. The cops scurried. Davis then shot the lock off of his sister Helen’s door and went inside.
Looking out a rear window, he spied several cops in the backyard. Davis claims they saw his figure in the window but didn’t realize it was him. Mimicking a woman’s voice, he asked the cops what was happening. They gruffly told the “woman” to get back inside. After the cops left, Davis jumped from the first floor apartment window into the backyard and disappeared into the wilds of the Bronx. (This daring impersonation remains unverified; is it another product of the movie that plays in Davis’s head?)
After slipping in and out of safehouses for more than two weeks, Davis was cornered at 365 East 183rd Street in the Twin Parks West projects in the Fordham section of the Bronx on December 5, 1986. After more than six hours of tense negotiations between Davis and the NYPD — conducted over the phone and shouted through the front door of the apartment where Davis had taken two families hostage — Davis surrendered without incident at 7:30 a.m. He later claimed he gave up because he was concerned for his mother’s safety as well as his own. As a ring of cops led Davis down the building’s wheelchair ramp, he was showered with applause and cheers. Mayor Koch and Commissioner Ward patted each other on the back.
The minicam crews raced back to their stations with the grand finale to the greatest show in the Empire State.
Hunting for a conviction in the first trial (where Davis was charged in the Southern Boulevard murders), assistant district attorneys William Flack and Brian Wilson looked like mako sharks in NBO suits. They had a solid case against Davis; not airtight, but strong. In his summation, Flack likened the case with all of its testimony and physical evidence to “building a house.” He asked the jury not to be distracted by Kunstler and Stewart’s “landscaping and shrubbery” — the political dramatics — but to concentrate on the “house” itself.
With more than 50 witnesses, the prosecution’s case seemed stronger every day. There was the testimony of “Big Charlie” Conway, Addo, and a spacey crackhouse steerer named Roy Gray who claimed that, a few hours after the killings of the four suspected drug dealers, Davis, Burgos, and Patron robbed Gray outside a Washington Heights crackhouse (Burgos is currently serving a two-to-six year stretch at Rikers for this stickup). After Gray called the police and they arrived — and handcuffed Gray in the backseat of their patrol car just in case — the police chased Davis’s crew (driving a stolen car) all the way from 165th and Edgecombe in Manhattan to 167th and Jerome Avenue in the Bronx. As Davis and company bailed out and scaled the sloping staircase from Jerome to Anderson Avenue, Gray testified that Davis and his boys fired at the cops. Flack and Wilson had evidence; the shells on the staircase and the fingerprints on the getaway car matched the shell casings and fingerprints taken from the scene of the murders.
Kunstler and Stewart ignored the murder case; their aim was to persuade the jury that corrupt police officers were out to assassinate Larry Davis. Kunstler’s theory was that McCarren, the detective who led the charge into Regina Lewis’s apartment on November 19, was out to “assassinate” Davis because he knew too much about police corruption and drug dealing. The defense team did their best to play to the frustrations and loyalties of the seven blacks and three Latinos on the jury.
One person who figured heavily into Davis’s defense was his brother-in-law Joe Lewis. Lewis, who testified for the prosecution and later recanted, gave what appeared to be very damaging testimony. He claimed that Davis came to his house a day or two after the October 30 murders and said that he “went to rob some guys, but some static happened.” Lewis said Davis told him that one of the men rushed him and he shot the man. Lewis said Davis explained that the remaining three were shot and killed because Davis “didn’t need no witnesses.” Then the four were stripped of their clothing — one corpse did have socks on — tied up, and tossed into a bathtub full of water.
When I asked Davis what he thought of his brother-in-law’s account, he went off on me. “What’s the use of getting mad at the boy?,” Davis asked sharply. “We know what they [the prosecution] is doing to him. The boy’s a punk, he’s scared, they tellin’ him he’s going to jail — he has children. I got a daughter myself. They scarin’ him. But they can’t do that to my family. They ain’t going for it.”
And then Davis did something very brash. “Cut the tape off,” he said. Stunned and curious, I complied. “You see that tape recorder, how small it is? if you got a big coat, I want you to go to my mother’s house and interview Joe — but you can’t let him see the recorder. Take a pen and pad, but hide the recorder, switched on, in your coat pocket. He’s been telling people how he was scared, how they made him lie on the witness stand, how he didn’t want to do that, and i want that on tape.” I looked at Davis for a full minute as I let the full shock of his request sink in. Then I told him I couldn’t do that for him.
I did interview Lewis, however. He told me that right after Davis’s capture he kept getting calls from the Bronx D.A.’s office; he avoided them until the morning he was picked up by two detectives who drove him to the courthouse where he was interrogated for more than two hours by an assistant D.A. and a detective. According to Lewis, when he denied any knowledge of the murders or the shootout, the assistant D.A. told him, “You do know something. Why are you being stupid?” The detective allegedly added, “You asshole, why mess up your life for this bastard? Everybody here is telling on everybody anyway. We already know everything.” (The prosecution would not comment on the Lewis interview.)
Says Lewis, “He had me thinking that it was other people that had already told on him, and they had all they needed to pin Larry. Then come to find out they only had me as a witness. They used me as a little sucker. I didn’t think it would be my testimony that would hang my brother-in-law. Larry used to call me and say, ‘Yo, don’t let them do this to me, don’t let them hang me.’ I told him, ‘I just put shit together from the newspapers. They was threatenin’ me so much, I was scared, tears was comin’ out of my eyes at the time.’ Then he told me, ‘Joe, stand up to them. Tell what they did to you, so people could know.’ They tried to use me, and I didn’t dig that. So I told Larry not to worry about it.” On the witness stand, Lewis avoided looking at Davis, his mother-in-law, and his wife.
On Sunday, February 14, Mary Davis called Stanley Cohen, Davis’s Legal Aid lawyer and one of the architects of his defense. After inquiring about his health, she said, “Somebody wants to ask your legal advice.” Joe Lewis took the phone. Cohen called him back and taped his recantation on an answering machine. Judge Fried did not allow the recantation because Lewis took the Fifth when asked whether his previous testimony was untrue. Fried also told the court that “Mr. Cohen did suggest the answers [for Lewis] outright.” But the next day the papers wrote about Fried barring the recantation. It was discussed on WLIB, and there is speculation that the jurors — who were sequestered upstate — got wind of it.
On March 3, 1988, after nine days of deliberation — the longest in Bronx county history — Davis walked on the murder charges. Objectively, the prosecution should have won, but crack and police corruption have filled the minds New Yorkers like sweet smoke spreading through a glass pipe. When it came down to choosing between “dirty” cops, unsympathetic victims, and poor leadership in the county’s judicial system on the one side and, on the other, a kid who may or may not have been lured into police corruption and no-name murders, Larry Davis was the people’s choice.
Mary Davis rocked with her eyes closed, her family fell on her and cried, her Pentecostal sisters raised open palms, on the brink of an unknown language. An older black man in the back of the courtroom shouted, “Alright now! Next, win, Jesse, win.” Stanley Cohen trembled, and then he cried. Lynne Stewart beamed and hugged Kunstler who tried to remain cool, but said, “I’m delirious. This is great, just great. And he put his arm around Larry Davis, who sobbed into the sleeve of his lawyer’s charcoal gray suit.
The acquittal in the first trial not only vindicated Davis, but it also bolstered his credibility, confirming the street-level perception that he was telling the truth about working for the cops. It was also the sort of surprise ending that suggested that the second trial (for the attempted first-degree murder of nine police officers, aggravated assault, use of a firearm, and criminal possession of weapons) would deliver even more drama.
After three months of false starts — involving possible racism in jury selection, subsequent empaneling and dismissals, until not one white sat on the jury — Davis II began in late July with the hoopla worthy of a new Martin Scorcese film. For the first couple of weeks, the courtroom was standing room only. As in the last trial, there was a broad cross-section of spectators: radicals, Muslims, Pentecostals — prayer capped women from Mary Davis’s Rapture Preparation Church — detectives, cops, reporters, and the legion of Davis’s family and supporters. I even remember small wagers made between reporters that Davis II would eclipse the hype of the Brawley mystery, which, at that time, was at it’s peak.
For a while, it seemed that it would. First, there was the tearful testimony of some of the wounded officers. Emergency Service sergeant Edward Coulter, who was wounded in the hand and thigh, broke down as he recounted the story of how he and his fellow officers were felled by the flashes of heat and light from Davis’s gun.
William Kunstler told reporters that Coulter’s testimony was a staged performance.
Kunstler went as far as to show the courtroom a videotape of a police training lecture that depicted a much calmer Coulter describing the same event to fellow Emergency Service officers in a January 1987 meeting. Indeed, Coulter seemed to have a firmer grip on his emotions when I witnessed his testimony back in February. If anything, his steady delivery held the court spellbound, with his claim of Davis shooting first, even with a tot in the line of fire.
Four of the other five wounded cops followed Coulter to the witness stand (foour cops have filed civil suits against the city for negligence). The injured officers include Captain John Ridge who was grazed in the head (and who, according to a Newsday article, had a trace of alcohol on his breath during the post-shootout hospital examination, though he denied on the witness stand that he had been drinking), Officer John O’Hara, who was shot in the eye, and Detective Donald O’Sullivan, grazed in the head and hand. Throughout their testimony, Kunstler maintained the same position he outlined for Newsday on the day of the opening arguments: “You don’t assemble an entire task force with cops from all over the place, including ESU [Emergency Service Unit], get denied a request for a warrant from the DA’s office, and then still make a raid on the house with bulletproof vests, sawed-off shotguns, and 34 men unless you are hellbent on killing him.”
Bolstering the testimony of these and other officers on the scene that night were the daily sea of blue uniforms in the first two rows of the courtroom, including the wheelchair-bound Steven McDonald. McDonald, the officer disabled by a teen gunman in Central Park, was a quiet but powerful cheerleader for the cops. At the beginning of the second trial, he told the Post, “I consider them [the wounded officers] victims, and I’ll continue to be here as long as I am physically up to it.” Kunstler countered that McDonald’s presence was “a trick to win sympathy from the jury. It’s a shameful exploitation. I feel sorry for him.”
Perhaps the trial became too taxing for McDonald, because he didn’t show up in the courtroom for a while. Or maybe he just lost interest. McDonald’s absence was just one indication of the public’s lethargy during the bulk of Davis II. Despite the police parade of witnesses and the visceral testimony describing the melee, empathy had began to wane not only for the cops, but also for Larry Davis. Most people didn’t seem to care anymore; many said it was because the image painted by the cops of Davis using his toddler nephew as a shield in the shootout. Others said that the cop-shoot had been tried already in the murder trial; once you’ve seen the surprise ending, the thrill is gone.
The disaffection of the general public grew despite the defense’s theatrical presentation. Davis, Kunstler, and Stewart did their best to pump a case that was in danger of becoming a mundane installment of Superior Court up to the level of a Hitchcock thriller. The most unexpected twist came in the October 5 testimony of Davis’s mother. Mary Davis, 65, told the court that on October 31, 1986 — the day after her son and two accomplices allegedly killed four suspected crack dealers at 829 Southern Boulevard in the Bronx — she was visited by four police officers. She testified that one of the officers, Joseph Nealon, said, “You know what you did? You raised a dirty bastard.” He went on to tell her, “You tell him, we’re going to put a f — -in’ bullet in his head. You tell Larry we are going to kill him.” She informed the police Civilian Complaint Review of this harassment just in case “anything did happen,” (Nealon received a minor reprimand from the department for pushing and verbally abusing Mary Davis.)
Two weeks later, Kunstler, former Tawana Brawley advisers C. Vernon Mason and Al Sharpton, and other supporters staged a six-hour sit-in Brooklyn Criminal Court (over a judge’s decision in another case) that ended in a mini-riot and a group sleepover in a holding cell. Next, Davis developed a back problem that delayed the trial for a week. Were these carefully orchestrated blows against the system or were they acts of desperation? Well, Davis’s problem may have been genuine; months before he made the complaint, he told me had injured his back in a car accident that happened when he was being transferred from the Bronx Courthouse to the MCC. But there was widespread speculation that Kunstler was stalling because he had run out of ammunition.
Last week, the defense rested, the jury was charged, and deliberations began. as the trial drew to a close, the public revved itself up once more as if, having slept through the dreary exposition of the movie, the audience was waking up just in time for the car chase. Reporters who weeks ago were filling their notebooks with doodles suddenly scrambled to get to the fourth floor courtroom an hour early, because waiting for the verdict was the uptown ticket that’s as hot as Waiting For Godot. And Larry Davis was the hottest topic on the street corner again.
Like a sequel that tops the original movie, the verdict in Davis II realized its great expectations. On Sunday afternoon, Larry Davis was found not guilty on all of the most serious charges — nine counts of attempted murder and six counts of aggravated assault — and found guilty of six counts of weapons possession. The press room on the ground floor of the Bronx County Courthouse swelled with reporters who were stunned into silence; meanwhile, shouts of “Hallelujah!” and revolutionary war cries caromed down the halls on the fourth floor. Soul power was alive and well in the Bronx.
Larry Davis will continue to be a figurehead for factions in New York.
To the ruling class, he is society’s nightmare, a horror-film monster who keeps coming back every time you think you’ve put him away for good. Worse, he is not a lone gunman: he is the advance man for an urban earthquake that is rocking society from the bottom, a terrifying state of flux that can no longer be ignored or reversed. But to the powerless, Davis is a resistance fighter, decorated with the blood of the occupational forces and crowned with victories on the enemy’s home turf, the halls of justice that have traditionally been nothing more than corridors of white power. By paralleling Davis with Bernhard Goetz immediately after the verdict, Kunstler has (quite brilliantly) forced Judge Fried into choosing between either imposing a minimal sentence that matches Goetz’s penalty or a heavier one that implies the court is racist. If Davis serves any substantial length of time on the weapons convictions or if he is jailed on upcoming murder charges (he still faces two unrelated counts of murder), his name will be invoked the way Hurricane Carter’s was for years: as the patron saint of black victims.
The triumph of Davis II has fueled the hunger for the kind of black hero that has been missing since the days of urban riots, Black Panthers, and Malcolm X. While Jesse Jackson has assumed the highest profile of any black leader in America today, there are many who feel his careful mainstreaming leaves a vacuum on the radical side; the rally to Davis’s bloody banner is a return to Malcolm x’s credo, “By any means necessary.” How could a crack dealing strongman be compared to a great visionary? “Hey man,” one Harlem professional told me recently, “remember that Malcolm used to be Detroit Red [a pimp and a drug dealer] before he became El Hajj. Everybody makes mistakes. It all depends on what you learn from them.”
I have heard the analogy between between Larry Davis and Malcolm X made so many times recently, it’s almost beginning to sound like an article of faith. But what the hopeful believers ignore is that Malcolm X was weaned on the black struggle through his father, a Marcus Garvey acolyte. Malcolm X was schooled to be a powerful beacon. As much as I believe GOD can rewrite any soul, and as much as I want to believe in Davis’s Islamic epiphany in prison, I can’t. I don’t think a true prophet would tell me to wait for the movie.