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.
Read the entire The Larry Davis Show cover story from the 28 November 1988 issue of the Village Voice, in my anthology, “Hooked On The American Dream-Vol.1: New Jack City Eats Its Young,” available exclusively on Kindle/Amazon. Click here to go to the “Hooked On The American Dream-Vol.1:New Jack City Eats Its Young” Kindle store site.