Factory Records: "The last true story of pop"

Tony Wilson, the founder of rave-culture, is dead. How does it continue? The Frankfurter Allgemeine Sonntagszeitung newspaper spokes with Peter Saville, designer of the New Order and Joy Division record sleeves, about Manchester, the legendary "Factory" label and the Punk moment.

Full Story in German

cheers m8

tonight ,we play special long set for you german audience

cheers for that. as my wee boy is getting German at school for the first time this year I'll get him to translate. I could do it myself of course, but that would be no fun :D

babelfish (http://www.babelfish.altavista.com/) translation...its a bit pidgin english but you get the idea.....

FACTORY RECORD "the last true history of the Pop" Tony Wilson, the founder of the Ravekultur, is dead. How does it continue? The Frankfurt general Sunday newspaper spoke with Peter Saville, Schoepfer of the disk coverings of new order and Joy division, about Manchester, the legendary "Factory" label and the Punk moment.

Question: Tony Wilson is dead, Ian Curtis ' life a film: Mr. Saville, is final thereby a chapter of the Popgeschichte?

Saville: I believe, the Kanonisierung of "Factory" and the Manchester scene straight only began. For me it is the last true history of the Pop. and it begins with the fact that Ian Curtis "Love wants Tear US distinctive" writes.

Question: The most famous song of Joy division.

Saville: It is more than that, it is the Essenz of Manchester. Everything that we connect with it today - "Factory", new order, the "Haçienda" -, became only possible owing to this enormous victim: Ian Curtis ' death equal to beginning of "Factory" stands there this enormous investment, and owing to their it creates the label to survive one decade long without thinking ever of profit. Ians victim welded together the people. There no drugs were in the play, it were also no accident: Ian writes "Love wants to Tear US distinctive" and means it exactly the same. Pop has this truthfulness long lost, perhaps even already in the sixties. Anyhow with it the project "Factory" begins.

Question: And with the starting capital of the television moderator Tony Wilson, which should never out-get its money again: "Factory" collapsed 1992 with two million Pound to debts. Wilson tried several times to revive the label it gave constantly new projects: Is the "project" the form of business organization, which brought Punk out?

TONY WILSON AND THE FACTORY On 10 August, at the age of 57 years, Tony Wilson, one of the fathers of the Rave died. He was founder and manager of the famous "Haçienda" - night clubs in Manchester. it created 1978 together with the diagram designer Peter Saville, today 52 years old, which disk label "Factory", which is considered as germ cell of the Independent Pop. The success of the label began with the volumes Joy division, whose singer Ian Curtis erhaengte himself in May 1980. Its life was filmed straight, "control" is to come to the year end into the German cinemas. Saville: One could say, it was the management Takeover of the youth culture. Center of the seventies was Popkultur industrielle an experience, a product - until between 1976 and 1977 the public back-captured finally the Pop again, in a short revolutionary instant: Punk. Afterwards everything began again. And the purest form of this new start were the independent disk label, "nearly records" in Scotland and we with "Factory" in Manchester. We did not want to make business with our label, and completely honestly: It was also never one. It gave us only the opportunity to do something. They talk about projects, I legend: Projects are things, which must be done. But we could only do it, because behind everything the driving strength Tony Wilsons stood. It put 5000 Pound on the table and said: Thus we make a plate now.

Question: They from the outset sketched the Cover for "Factory". How was it added?

Saville: I was 22 and studied diagram Design in Manchester and simply to Tony Wilson went, we did not know each other at all, and said: I heard, you want a club to open, can I to help? I had at all no work samples thereby, only one book of the Bauhaus bauhaus-Typographen January Tschichold, which had I Tony Wilson shown, and he said: Okay, Mach you the poster for the club. It has me a chance gave, as it many people a chance gave, and thus my career and my life began.

Question: Did you actually like yourselves?

FOUND IN... Frankfurt general Sunday newspaper Expenditure from 19 August 2007

www.faz.netSaville: Tony and I are not the sort humans, which friends need. We are enormously egozentrische personalities. Tony held gladly audience. No matter whether one met it coincidentally on the road or to the meal: Were audiences, like that as one them with the Queen has or the prime minister. It might it have been king of its small realm. Tony used and used the people. Its best friend Alan Erasmus...

Question: ... the third in the federation with "Factory record"...

Saville: ... talked twenty years long no word with it. But Tony Wilson was the attraction for a quantity of people into and around Manchester to do together something. One could compare it with a solar system: Tony is the sun, an enormous energy, without which everything would apart-fly. He was not a musician, he was no designer, he was only quite no producer and no businessman. But without its attraction the planets would have never met around it: not I, not Joy division, not the people of the "Haçienda".

Question: The club like the "Factory" label ended however in a financial disaster, gave never correct contracts with volume.

Saville: I said Tony Wilson a thousand times: Condemned still times, functioned here only, if you give your job up with watching television and set you with "Factory" to a desk, on which "the boss am I" stands. Tony made me mad.

Question: And it it, because you always ignored DEAD LINES.

Saville: The fifteen years, which we co-operated, were a roller coaster travel. End of the nineties we sat then sometime in the "Groucho club" in Soho together and stated that we see ourselves still, although we do not need actually any longer. And that we must like ourselves thus obvious. Since then we were friends.

Question: Did it annoy it therefore in such a way, how Tony Wilson in "24 Hour party People" is represented - to the film over the Manchester scene of Michael Winterbottom?

The film is really total beside it, and exactly the same beside it now the Tony Wilson is in Anton Corbijns "control".

Question: But the genuine Tony Wilson along-produced both films nevertheless!

Saville: There it probably succumbed to its own celebrity. "a Slapstick version of Manchester draws 24 Hour party People", because a Komoediant Tony Wilson plays: Steve Coogan. Clearly one can make a comedy from "Factory", but that is not nevertheless first, which one should do. There are very merry war films, but none begins with a comedy to tell from the war to. Anton Corbijns film is completely good, but Tony is also in it wrong.

Question: Why?

Saville: Because the type, which plays Tony, oriented itself obviously at "24 Hour party People" and not at Tony Wilson.

Question: Which a typical approach was with your Plattencovern: to tear the things culturally from the connection.

Saville: That is the strange culture, in which we live today, it builds inaccuracy on inaccuracy.

Question: Still times to the beginning: Is the chapter "Factory" now finally closed?

Saville: I believe that Tony Wilsons life remained unfulfilled as an adult. That is a problem of the youth culture: It does not give adults to anything except money. Our culture moves fast and lives on the attraction of the new one and boy, it will ever more with difficulty to mature therein - it is, one tries it in the management. Popkultur does not offer much place for age wisdom. In the art, for example, one can become older, but not in the mode and the music. If John Lennon would today alive be still, he would be an Ambassador, he could president of the United States become! Because we live each cultural experience in the west in an exclusive Popgesellschaft, run today over Pop: If in the magazines or in Hamburg station is somewhat not to be seen or on the television, then it does not exist also. Nevertheless Pop is treated such as child stuff.

Question: In Tony Wilsons TV transmission "It Goes" were to be seen in such a way the Sex Pistols 1976 for the first time, that was nevertheless a revolutionary instant of the television.

Saville: Tony believed in the political in the Pop, therefore he was interested in music. Which interested it in Songtexten, self implementation and free speech were, not the dear songs. It was somewhat older than we, and as Pop by Punk became again political, reminded it on 1968. Punk destabilized the establishment, it was dangerously and exciting, exactly like later the Ravekultur in the Neunzigern: We are not in a storage hall, we are on a field, we break the law, understand, what we do, except us. As soon as youth culture works however too passively and packed, it gets a tear. The plates of "Factory" with my crazy Covern offered therefore no more consumer experience, it were rather, as if one would buy portions of a religious community. And now I sit with other fifty-year old in talc shows and talk about Tony Wilson, the "Mr Music" about Manchester. Which for a imbecility! "Mr Music" from Manchester was Pete Waterman, which produced thirteen Top Ten hits for Kylie! Why only can't Popkultur be taken more seriously? It's our fucking life now.

Question: Nothing is thus to end, the project continues.

Saville: Popmusik is the literature of our time. Naturally much of it is trivial, but much evenly not, and it excites me that one does not keep that apart. Owing to the Popmusik one can live her in here and now, is the sound TRACK of the modern world. Take only the "Haçienda" in Manchester, an old workshop, it are been the symbol for the future of a gone bankrupt industrial city - exactly like that Em park in the Ruhr district. Manchester did not have a place for its future, with "Factory" in the seventies began then 1978 the Renaissance. The young romantics still dreamed during the industriellen revolution about another place, to which they could flee. Because of Tony Wilson the same young people in Manchester remained - to change around the place, at which they lived.

The interview led Tobias Ruether

Cheers for the translation. :)

I've made it just that little more readable. No I'm not about to re-write sentences tom make them more grammatical. If NME are going to quote from this, they may as well get the correct quotes. ;)

FACTORY RECORD "the last true history of the Pop" Tony Wilson, the founder of the Rave culture, is dead. How does it continue? The Frankfurt general Sunday newspaper spoke with Peter Saville, creator of the disk coverings of new order and Joy division, about Manchester, the legendary "Factory" label and the Punk moment.

Question: Tony Wilson is dead, Ian Curtis ' life a film: Mr. Saville, is final thereby a chapter of the Pop history?

Saville: I believe, the canonizing of "Factory" and the Manchester scene straight only began. For me it is the last true history of the Pop. and it begins with the fact that Ian Curtis "Love wants Tear US distinctive" writes.

Question: The most famous song of Joy division.

Saville: It is more than that, it is the essence of Manchester. Everything that we connect with it today - "Factory", new order, the "Haçienda" -, became only possible owing to this enormous victim: Ian Curtis ' death equal to beginning of "Factory" stands there this enormous investment, and owing to their it creates the label to survive one decade long without thinking ever of profit. Ian's victim welded together the people. There no drugs were in the play, it were also no accident: Ian writes "Love wants to Tear US distinctive" and means it exactly the same. Pop has this truthfulness long lost, perhaps even already in the sixties. Anyhow with it the project "Factory" begins.

Question: And with the starting capital of the television moderator Tony Wilson, which should never out-get its money again: "Factory" collapsed 1992 with two million Pound to debts. Wilson tried several times to revive the label it gave constantly new projects: Is the "project" the form of business organization, which brought Punk out?

TONY WILSON AND THE FACTORY On 10 August, at the age of 57 years, Tony Wilson, one of the fathers of the Rave died. He was founder and manager of the famous "Haçienda" - night clubs in Manchester. it created 1978 together with the diagram designer Peter Saville, today 52 years old, which disk label "Factory", which is considered as germ cell of the Independent Pop. The success of the label began with the volumes Joy division, whose singer Ian Curtis hanged himself in May 1980. Its life was filmed straight, "control" is to come to the year end into the German cinemas. Saville: One could say, it was the management Takeover of the youth culture. Center of the seventies was industrial pop culture an experience, a product - until between 1976 and 1977 the public back-captured finally the Pop again, in a short revolutionary instant: Punk. Afterwards everything began again. And the purest form of this new start were the independent disk label, "nearly records" in Scotland and we with "Factory" in Manchester. We did not want to make business with our label, and completely honestly: It was also never one. It gave us only the opportunity to do something. They talk about projects, I legend: Projects are things, which must be done. But we could only do it, because behind everything the driving strength Tony Wilson's stood. It put 5000 Pound on the table and said: Thus we make a plate now.

Question: They from the outset sketched the Cover for "Factory". How was it added?

Saville: I was 22 and studied diagram Design in Manchester and simply to Tony Wilson went, we did not know each other at all, and said: I heard, you want a club to open, can I to help? I had at all no work samples thereby, only one book of the Bauhaus Bauhaus-Typographs January Tschichold, which had I Tony Wilson shown, and he said: Okay, You make the poster for the club. It has me a chance gave, as it many people a chance gave, and thus my career and my life began.

Question: Did you actually like yourselves?

FOUND IN... Frankfurt general Sunday newspaper Expenditure from 19 August 2007

www.faz.netSaville: Tony and I are not the sort humans, which friends need. We are enormously egocentric personalities. Tony held gladly audience. No matter whether one met it coincidentally on the road or to the meal: Were audiences, like that as one them with the Queen has or the prime minister. It might it have been king of its small realm. Tony used and used the people. Its best friend Alan Erasmus...

Question: ... the third in the federation with "Factory record"...

Saville: ... talked twenty years long no word with it. But Tony Wilson was the attraction for a quantity of people into and around Manchester to do together something. One could compare it with a solar system: Tony is the sun, an enormous energy, without which everything would apart-fly. He was not a musician, he was no designer, he was only quite no producer and no businessman. But without its attraction the planets would have never met around it: not I, not Joy division, not the people of the "Haçienda".

Question: The club like the "Factory" label ended however in a financial disaster, gave never correct contracts with volume.

Saville: I said Tony Wilson a thousand times: Condemned still times, functioned here only, if you give your job up with watching television and set you with "Factory" to a desk, on which "the boss am I" stands. Tony made me mad.

Question: And it it, because you always ignored DEAD LINES.

Saville: The fifteen years, which we co-operated, were a roller coaster travel. End of the nineties we sat then sometime in the "Groucho club" in Soho together and stated that we see ourselves still, although we do not need actually any longer. And that we must like ourselves thus obvious. Since then we were friends.

Question: Did it annoy it therefore in such a way, how Tony Wilson in "24 Hour party People" is represented - to the film over the Manchester scene of Michael Winterbottom?

The film is really total beside it, and exactly the same beside it now the Tony Wilson is in Anton Corbijn's "control".

Question: But the genuine Tony Wilson along-produced both films nevertheless!

Saville: There it probably succumbed to its own celebrity. "a Slapstick version of Manchester draws 24 Hour party People", because a comedian Tony Wilson plays: Steve Coogan. Clearly one can make a comedy from "Factory", but that is not nevertheless first, which one should do. There are very merry war films, but none begins with a comedy to tell from the war to. Anton Corbijn's film is completely good, but Tony is also in it wrong.

Question: Why?

Saville: Because the type, which plays Tony, oriented itself obviously at "24 Hour party People" and not at Tony Wilson.

Question: Which a typical approach was with your record covers: to tear the things culturally from the connection.

Saville: That is the strange culture, in which we live today, it builds inaccuracy on inaccuracy.

Question: Still times to the beginning: Is the chapter "Factory" now finally closed?

Saville: I believe that Tony Wilson's life remained unfulfilled as an adult. That is a problem of the youth culture: It does not give adults to anything except money. Our culture moves fast and lives on the attraction of the new one and boy, it will ever more with difficulty to mature therein - it is, one tries it in the management. Pop culture does not offer much place for age wisdom. In the art, for example, one can become older, but not in the mode and the music. If John Lennon would today alive be still, he would be an Ambassador, he could president of the United States become! Because we live each cultural experience in the west in an exclusive Pop society, run today over Pop: If in the magazines or in Hamburg station is somewhat not to be seen or on the television, then it does not exist also. Nevertheless Pop is treated such as child stuff.

Question: In Tony Wilson's TV transmission "It Goes" were to be seen in such a way the Sex Pistols 1976 for the first time, that was nevertheless a revolutionary instant of the television.

Saville: Tony believed in the political in the Pop, therefore he was interested in music. Which interested it in lyrics, self implementation and free speech were, not the dear songs. It was somewhat older than we, and as Pop by Punk became again political, reminded it on 1968. Punk destabilized the establishment, it was dangerously and exciting, exactly like later the Rave culture in the nineties : We are not in a storage hall, we are on a field, we break the law, understand, what we do, except us. As soon as youth culture works however too passively and packed, it gets a tear. The plates of "Factory" with my crazy Covers offered therefore no more consumer experience, it were rather, as if one would buy portions of a religious community. And now I sit with other fifty-year old in talc shows and talk about Tony Wilson, the "Mr Music" about Manchester. Which for a imbecility! "Mr Music" from Manchester was Pete Waterman, which produced thirteen Top Ten hits for Kylie! Why only can't Pop culture be taken more seriously? It's our fucking life now.

Question: Nothing is thus to end, the project continues.

Saville: Pop music is the literature of our time. Naturally much of it is trivial, but much evenly not, and it excites me that one does not keep that apart. Owing to the Pop music one can live her in here and now, is the sound TRACK of the modern world. Take only the "Haçienda" in Manchester, an old workshop, it are been the symbol for the future of a gone bankrupt industrial city - exactly like that Em park in the Ruhr district. Manchester did not have a place for its future, with "Factory" in the seventies began then 1978 the Renaissance. The young romantics still dreamed during the industrial revolution about another place, to which they could flee. Because of Tony Wilson the same young people in Manchester remained - to change around the place, at which they lived.

The interview led Tobias Ruether