26 de febrero de 2007

Contacto en Jamaica; Burroughs Captura a King Tubby

En el artículo Q+A: The ABCs of Dub with Daniel Haaksman el señor Haaksman propone una teoría interesante, aunque seguramente inventada:

There's a rumor that Burroughs may be the founding father of dub music in general. Historians still argue about it, but apparently Burroughs spent some time in Jamaica in the late 60s. He always traveled with a tape machine onto which he recorded his poetry. [The machine also had] effects such as echo and delay and, as the story goes, Burroughs met the young King Tubby one day and showed him what one can do with sound when using the effects. Before leaving Jamaica, Burroughs left his tape machine behind and the rest is history.

Aunque no creo que William Burroughs y King Tubby se hayan conocido materialmente Haaksman sí hace notar que sus técnicas de cut-up son un paralelo música-literatura muy interesante:

Dub is a studio technique that was [officially] invented by King Tubby in the late sixties. [He discovered that] music could be deconstructed, stripped down to its basics [and] the elements of songs could be laid bare. And out of this deconstruction something new emerged. The vocals would just drop in and out occasionally and the focus was much more on the rhythm or the bass, the rhythmical backbone of a song. As dub is about a structural analysis of music, it can basically be applied in any type of genre.

Este paralelo también se hace notar en las notas de la compilación Macro Dub Infection Vol 1 de 1995 y se cita a la fuente en persona:

‘The word of course is one of the most powerful instruments of control as exercised by the newspapers... If you start cutting these up and rearranging them, you are breaking down the control system'. (William S. Burroughs, ‘The Job-John Calder Ltd')