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The Crackdemic or Social Voodoo?


I often describe my past addiction to crack as being under a spell as if under witchcraft or voodoo. Fortunately for me, the spell was broken by law enforcement constantly racially profiling me and taking me to jail for one petty infraction or another usually parole violation since I was normally on the run and had a PAL warrant. I
t happened so frequently I had to adopt an attitude of indifference towards it which I immortalized in the spokenstoryword: “Where will you go:                                                    

Keep a PAL warrant 

Parole Officer say My conduct is abhorrent 

To me, prison just a vacation spot not a deterrent…”  

                                                                                               

I took to parole like a shark took to being prey and rarely cooperated. I was always doing several months in this jail or that prison for parole violation. Ironically, this served to break up my addiction to the point I was never using consistently for more than 3 months at a time. Though I cried and screamed every time they locked me up, truth be told, that broke the spell and facilitated my escape from that netherworld of skidrow.

 

Please don’t twist that and think I’m saying racial profiling is good–NO, Never that. What The CDCR/ LAPD meant for evil, God used for good.

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The impact of Craig Monson Slapping Raymond Washington founder of the Crips

Finally saw that Kev Mac video with Craig Monson telling the story of how he slapped Raymond Washington the Founder/Creator of the Crips, a gang started in south central Los Angeles in the late 1960s and spread as far as the Netherlands. In summary, Craig said he slapped Raymond when Raymond was a fifteen year old boy and Craig was at least six foot and had 22 inch arms, and by his own admission, was a sometimes bully. In addition, Craig was the leader of the neighborhood gang (the Avenues) that Raymond craved to be a member of. Craig obviously thought Raymond was an irritant, because he talked alot of shit. 

 

Anyway, after Craig rejected Raymond (the slap), Raymond mobbed outta there saying he was gonna start his own gang, and Craig said: 

“ ‘What you gone call em’, Crip?’ ” 

 

He said it as a diss cause Raymond limped hence he was a Crip short for Cripple. So Raymond took the diss, made it the name of the gang, and here we are, Worldwide Crippin. 

 

So since the Crips were formed out of anger and rejection is that why they accept everybody? I‘ve seen Cripple Crips, Blind Crips, Paraplegic Crips, Deaf Crips, Crips in every race and creed. Crips are an equal opportunity embracer. Just saying. In addition, Raymond spread the Crips like a wild fire, screaming Crips don’t die they multiply. Did that have to do with his desire to out-gang the Avenues and shame Craig Monson? 

Another thing, Crips normally don’t like bullies, Crips are known for destroying bullies, that is until they become the bullies. Crips are also famous for the rat pack. Does that stem from the idea that if one can’t take down the bully alone the pack can? When Raymond left out of that backyard he was mad, humiliated. 

You know he wanted revenge but couldn’t get it because Craig was not only the leader of the Avenues, and Deboe, he was also the big homie, and Raymond looked up to Craig. So instead of taking it out on Craig, Raymond took it out on others. That’s another famous Crip trait, displacement or taking your anger out on a person not responsible for causing it. These are thoughts that were generated after watching that Kev Mac video.

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Reflections On The Horrible Way Monster Kody Died

I met Monster Kody at Henry Clay Jr High when we was all fresh off the porch trying to make a name for ourselves in the Cripworld. It was 1977. And monster wasn’t even from ETG yet, he was still claiming 11 Duce Hoover Crip at the time, and his row dog was Lerch from 107th street Hoover Crips. (See my book GSTAR.) but the last time I saw him was in 1988 in new Folsom prison B-facility. The prison was so new it still had the SHU in half of the facility. It was a level 4, maximum security prison built specifically to contain the warring gangs in old Folsom and san Quentin. Eme/Surenoes, Jama, Crips/Bloods It was the first of 3 maximum security joints being built. The other two were Corcoran and Pelican Bey. They weren’t finished yet, so all the riders were still in new Folsom.

 

That was a crazy yard with Emes, BGFs, Crips, Bloods, others. The cold part, damn near everybody on B-Yard was fresh out of the SHU from the war in old Folsom. Any person with common sense could see that it was a matter of time before it blew. Many whispered that it was a set up. I whispered it too. 

 

I bumped into monster walking around the track, I was fresh fresh out of the SHU, but he had been there for a minute. He was riding with the new Afrikan car and calling himself Sanyika Shakur. Yet, he still fucked with the homies (he was Monster). Didn’t nobody question him about his position. Afterall, the yard was full of soldiers, riders, shot callers, some real heavy weights and most had been released from the SHU. 

 

So I bumped into Cuzz on the track and I hadn’t seen him since the juvenile tank in the LA county jail in 1981. But he had seen me in San Quentin when he was in east block SHU and I was in the north block SHU. His cell was yard side, and he could see north block’s yard through East Block’s big window. When I bumped into him in B-facility, he said he use to see me through the window getting at the homies on the yard all the time. I was on some Crip/revolutionary shit then. And I was spouting it everytime I hit the yard, still I kept it crippin. Nevertheless, I started reading business books and studying capitalism, and by the time I was discharged from the SHU, I was mostly finished with that revolutionary shit. So when he said that, “I said I’m a capitalist, Cuzz.” Monster, or should I say, Sanyika looked at me like I slapped him. He was really on that New Afrikan to the point that I could never perceive Cuzz as A gangbanger again. But shit happens. Needless to say, we didn’t communicate much after that. Then, he went home. The next thing I knew, he had a book and was rich & famous.

 

In reflecting on the way Cuz died—in the horrible location of a homeless camp, in a tent of all places. How is it that this fate befell such a distinguished member of the Crip community? Afterall, monster wrote a New York Times best seller, and had become an activist. They say, a gang activist, that could’ve been later, but I know monster was a Crip/revolutionary in the vein of CCO and the Black Panther Party. He was a member of the New Afrikan Movement, and that’s not your everyday BLM protester. At one point in the belly of the beast, I had that same political mindset with a gagster twist.

 

So I am trying to understand how monster died in a homeless tent. He knew too much and understood too much, not to mention, he came in contact with money and opportunities that most gang members will ever see in a lifetime, so how did he not leverage that into a successful life, or political career. Was the hardships of Black American urban life such that it disillusioned Cuzz and made him start smoking crack? What was it? I have some ideas, and I will express them in the following series of post.

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Why My Stories Are Usually Action-Packed.

Born poor, Black and bred in South Los Angeles, not to mention growing up watching Looney Toons, and Disney shows that were all violent, that elevated the violent hero. The man that lost the fight never saved the day or got the girl or the money or the praise and still doesn’t. Not to mention, the history poured into us in school is a violent one. My whole American life has been surrounded by violence, inundated with it from all media formats. From comic books to magazines, games to TV. The big screen wouldn’t exist without the hero, without a gun, knife, blunt object or stun rey. Moreover, America was born in a bloodbath between Great Britain and rebellious slave holders. We are taught from a youth that don’t shit get done without violence while at same time being told violence is bad. Since when? Not here. So in creating and designing violent stories I am actually just reflecting my American upbringing and nature, and how well I consumed the value system taught to me since the day I breathed air in East Los Angeles. 

 

Added to this influence is the fact that I joined a gang at 13 where the primary conflict resolution method was violent, where I observed violence, suffered violence, and allegedly was the administer of some.
Plus, I was captive in the CDCR, the hardest prisons in California surrounded by barbed wire and paled faced men in towers with choppers, and signs on the wall that said: 

 

NO WARNING SHOTS WILL BE FIRED. 

 

I had the unpleasant experience of seeing them enforce that more than once. Not to mention, I was surrounded by some of the most violent and dangerous inmates in California, some would argue, the whole of Norte America since California sets the tone for the whole country, even the world. The gangs here have gone global. Not to mention, Hollywood is here. They create the trends. In addition, while in the belly of that violent beast, I read a lot of novels to distract myself from the hardship I was suffering. Lot of westerns by Louis Lamour, not to mention, the John Slocum westerns, I even see this influence in my writing. 

 

Am I too American in that I prefer violent stories over others? When choosing to watch any movie or show even romanic, it better have some action in it. The hater better get blowed up, and the villain better get they shit put on the sidewalk. A cap better get peeled in the first 7 minutes or I won’t invest the couple of hours to watch it. Every Marvel movie is violent. Not to mention, the current highest grossing movie on the planet is called what: Infinity War? I have never been let out of the United States. I am perfectly American. We love violent entertainment.  

 

In addition, it may be easier to administer in real life than to administer on the page. All movies, TV originate in script form. I have worked hard to craft action scenes and sequences to make my non fiction story read like a fiction action film, very descriptive very action-packed. My own unique style. The point is, the influence is not just from growing up poor & Black in the hood, but from growing up American. America being as violent as it is, all that influenced me to create violent stories.

 

 

Yet, unlike alot of modern rapp, except for G-star my stories are purely fiction, merely entertainment. Like a super hero movie, my characters are just from the block .