Blowfly Rap Dirty

[Rode Neagle]

Reidwas born in Cochran, Georgia, in 1939 and moved to West Palm Beach, Florida, in his adolescence (c. 1949).[4][5] His stage name was given to him by his grandmother who he would visit in Georgia occasionally. During this time, Reid would make explicit parodies of the country music that was popular on the airwaves in Cochran then, prompting his grandmother to brand him a "blowfly".[5]

"In hillbilly, you'll find some of the best lyrics and morals. I used to listen to Homer and Jethro, and they would rap most of the time, only they didn't call it rap then. They used to call it soul talkin'. As a form of revenge, I would take songs like "The Twist," and I would change it from (sings) "Come on baby, let's do the twist" to "Come on baby, and suck my d-!" My grandma would say that's terrible, you're a poor excuse for a human being. Child, you're nastier than a blowfly."[5]

During the 1960s and 1970s he wrote for and produced artists including Betty Wright, Sam & Dave, Gwen McCrae, Jimmy "Bo" Horne, Bobby Byrd, and KC & the Sunshine Band. During this period he was also a recording artist, cutting many of his own songs, including "Nobody But You Babe" and his first XXX record, "Oddballs" which was reworked into "Rapp Dirty" several years later.[5][6]

Reid wrote sexually explicit versions of hit songs for fun but only performed them for his friends at parties or in the studio. In 1971, he along with a band of studio musicians, recorded a whole album of these songs under the name Blowfly. The album, The Weird World of Blowfly, features Reid dressed as a low-rent supervillain on its cover. Blowfly continued to perform in bizarre costumes as his Blowfly character and record sexually explicit albums throughout the 1970s and 1980s. Reid claimed to be one of the first artists to perform in a mask, and transitioned from a "tuxedo like Dracula" or a "buttless" Clint Eastwood inspired outfit, to the spandex suits that he became known for in response to public demand.[5] The albums were widely popular as "party records". He recorded the explicit version of his song "Rapp Dirty" (a.k.a. "Blowfly's Rapp") in 1980. Blowfly has been described as the root of Gangsta rap[7]

Blowfly's profane style earned Reid legal trouble. He was sued by songwriter Stanley Adams, who was ASCAP president at the time, for spoofing "What a Diff'rence a Day Makes" as "What a Difference a Lay Makes". Reid's own compositions have been sampled by dozens of hip hop, R&B, and electronic artists (such as Beyonce, Wu Tang Clan, DJ Quik, DMX, Method Man & Redman, Main Source, DJ Shadow, Eazy-E, RJD2, Jurassic 5, Big Daddy Kane, Mary J. Blige, Brand Nubian, and the Avalanches) but Reid received almost no money from sampling due to signing away most of his royalties.

Blowfly's Zodiac Blowfly LP (also released on CD in 1996 on Weird World Records) includes the songs "If Eating You Is Wrong, I Don't Want To Be Right", "The First Time Ever You Sucked My Dick", and "Ain't No Head Like My Woman's Head", as well as a version of "Clean Up Woman", which he co-wrote. Another album of this period is The Weird World of Blowfly.

In 2003, Blowfly sold the rights to his entire catalog after years of debt. After 17 years of sporadic touring and occasional re-recording of his classic raps, Blowfly signed with Jello Biafra's independent record label Alternative Tentacles in 2005. Fahrenheit 69, the first album under the new contract, featured appearances from Slug of Atmosphere, King Coleman, Gravy Train, and Afroman.

Well, it wasn't technically an interview or, for that matter, a traditional two-way conversation. It was mostly a Blowfly stream-of-conscious monologue that ran for nearly an hour. The river of words included dirty jokes, singing, recitations of X-rated raps, a serious lecture about the Bible and a "special Blowfly curse" placed on very specific parts of my anatomy.

As a child, he discovered he had a natural talent for music parody. He would take such country hits as "Walkin' the Floor Over You" and replace the original lyrics with raunchy rhymes that can't be quoted in these pages.

In the late '50s, Reid (with his Blowfly identity secretly in tow) hitchhiked south to Miami, where he would eventually play an important role in the city's soul scene. In the early '60s, he began recording with a group called Clarence Reid & The Delmiros and had such regional hits as "I Don't Want the Leftovers" and "Like White on Rice." A single called "Odd Balls" (about gay beatniks) became a surprise hit in the '60s in Germany.

"She said, 'You better cover your ugly face.' And that's when I started thinking about all the superheroes I loved as a little boy," Blowfly said. "I thought it (the costume) up right then and there. These days, they don't think I'm Blowfly if I don't wear it."

When disco faded in the late '70s and early '80s, Reid's career flagged but Blowfly's continued. A generation of rappers and funk-rockers was sneaking off to the basement to listen to Blowfly compilations such as "The Weird World of Blowfly," "Blowfly Does XXX-Mas" and "Blowfly on TV."

"I will kick all their (expletive)," Blowfly said of the new generation of rappers and performers. "I can't stand these rich-(expletive) rappers. You see, I (expletive) with people's minds. I get inside their heads and roll around. People say, 'Blowfly, you are disgustin'.' And I say, 'Thank you very much.' "

Yet despite all the profane, misogynist-like rap songs he recorded as BlowFly, Clarence Reid had a deep respect for women. He wanted them to be strong. He appreciated them, protected them, pedestal-ed them. He manifested these emotions in a kinder gentler way through his other compositions.

Then he asks me my astrological sign and then dazzles with a dirty song about being a Libra. He turns around and serenades a woman having a Coke next to us. This is Clarence Reid a/k/a BlowFly and its the show of the day at the Miami Jai Alai.

Effective blowfly control relies on good management practices as well as the use of preventative products. Measures can be taken to avoid flies being attracted to your farm and availability of breeding sites. Dead animals, footrot, dirty wool due to scour or urine soaking, skin disease and wounds will all attract flies. Grazing on damp, well-sheltered pasture provides ideal conditions for flies and should be avoided during the risk period if possible. Good worm control is essential to prevent scour which attracts the blowfly. Faecal egg counts should be carried out to monitor worm burdens. Dirty wool should be removed by crutching as required to reduce the incidence of flystrike. Studies have shown that lambs with scour are 8.5 times more likely to be affected by maggot infestation. Open wounds can be reduced by avoiding ear tagging lambs during high risk periods.

All at risk sheep need to be inspected daily and the timing of the chemical application is crucial to prevent losses. Baited fly traps can be used to monitor the activity of blowflies so chemicals can be applied before problems occur and prevent population growth.

When applied correctly to commonly-struck areas such as the back and breech pyrethroid or insect growth regulator pour-ons can provide effective control of fly strike. Pyrethroids will require reapplication during most fly seasons, while insect growth regulator pour-ons can be applied early for almost whole season protection. Pour-on chemicals dissolve in the wool grease and will be removed when animals are shorn including crutching to remove dirty wool so re-application may be required.

Plunge dipping in organophosphate dip (diazinon) can provide protection from blowfly for up to 60 days. However poor dipping practice can lead to a failure to control blowfly strike. Sheep need at least 3 weeks fleece growth for the insecticide to bind. The sheep should be clean and dry before dipping to avoid excessive contamination of the dip which reduces the effectiveness if the dip. The long meat withdrawal time relative to effective period against flystrike make dipping an unattractive option on many farms.

Flystruck sheep need to be treated immediately. The smell produced by established flystrike is highly attractive to other female looking for a place to lay eggs, resulting in a rapid increase in the number of maggots. Application of correctly diluted dip solution or pyrethroid pour-ons will kill the maggots and protect the surrounding skin from secondary strike. Insect growth regulator pour-ons are NOT effective for the treatment of maggot infestation. The instructions for pour-on application should be followed carefully as over enthusiastic treatment of these affected animals is likely to result in toxicity. Antibiotic treatment is indicated where there are open wounds, severely affected, debilitated animals should be euthanased.

The last few weeks have seen a remarkable series of iconoclastic musician deaths. Although Clarence Reid, better known by his sometime stage-name, Blowfly, who died of liver cancer in a South Florida hospice facility on January 17th 2016 at the age of 76, may not seem as epochal as David Bowie, composer/conductor Pierre Boulez, jazz piano eminence Paul Bley or Lemmy Kilmister, he was the dominant exponent of a uniquely American idiom. Blowfly was the ne plus ultra of raunchy pop-music parodies, writing profane lyrics to existing songs, which he then re-recorded and performed live. Many compared him to "Weird Al" Yankovic, but his records are the shadowy id to the platinum-selling accordionist's super ego. Speaking to the German magazine Exberliner in 2008, Reid was clear: "Weird Al has said 'Blowfly is an X-rated Weird Al.' Wrong. I was writing parodies when Weird Al was in diapers. He's a goody-goody version of Blowfly."

Vinyl crate-diggers knew Clarence Reid as an often-thoughtful songwriter, producer and a major figure in Miami's soul and R&B independent music business. And the hours following Reid's death saw encomia from Ice-T, Snoop Dogg and the Red Hot Chili Peppers' Flea, each paying tribute to not only his foul-mouthed versions of R&B classics, but also the late-'70s/early-'80s hip-hop he transitioned towards. Blowfly's works presage the gleeful filth of fellow Miami residents 2 Live Crew, with only country singer David Allan Coe's semi-legitimate, contemporaneous lewd (and racist) recordings and Millie Jackson's similarly ribald R&B looming as large in the pantheons of dirty music. And if Blowfly took a cue or two from '50s frat-R&B smut peddlers Doug Clark and His Hot Nuts, the overwhelming majority of current hip-hop and R&B artists owe Blowfly for their frank representations of unadulterated carnality and drug use. Needless to say, radio wouldn't go anywhere near him.

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