Scandal: Minister President, The World’s First Acid House Boy Band Is Breaking Up!—Scandinavian Super Models Across The Nations Commit Social Suicide
#deathofanartform #worldsatunrest #theapocalypse #clublandischanging
Minister President have officially announced that, despite the enormous success, they cannot take the fame and fade into the void as of February 13th. Ironically the same date as “Take That” spearheaded by Robi Williams came to an end 19 years ago and Dresden was bombarded by the British back in World War Two.
Band manager and creator of the Minister President phenomena and style installation artist Henrike Naumann told Shalom Salon, that this was unevitably due to the high demand of psychopharmaceuticals and late night working hours.
Other sources state that it may also be due to the fact that ZK Bucket aka Andy Steffen is becoming a proud father and will focus his work on family and his own label. The band is said to respect his decision and announced a planned comeback in three years for Global Acid Takedown Festival in Manchester.
Their last appearance was at Mechatronica at Griessmuehle and it has been reported that signs of a possible breakup were present, yet their performance blew the audience away one final time.
We wish them the best of luck while waiting patiently for their future solo work and possible reunion. Rave will strike back!
“And when it does, it is going to be hard!”
Reports of a mass hysteria of teenage acid junky girls on the other hand put light on the dark side of the acid house industry, that has become more and more indifferent to the well-being of their clients, mostly blond blue eyed Scandinavian super models in their early twenties.
Critical tongues have blamed the scene for repetively “eating souls” on both ends of the supply chain, artists and audience.
Acid house tourism has become a major business endevor in crisis driven post-capitalist Berlin. Label owners and party promoters from prominent labels of the underground scene such as Mechatronica, Reflex, Upitup, L.i.e.s. Records, Balkan Vinyl and Cheap Acid blaim the incredible low income of artists due to the decline of the music industry and the extreme price dumping of cheaper stimuli enhancing substances such as ketamin, MXE, crystal meth, GHB and others have taken over the clubs.
This development has made it almost impossible for artists to perform at later and later hours to serve the needs of the hungry model audience. A viscious circle that experts estimate an average of 100 new bands comming up every year, with an average of one to two three years of existence. On the consumer side, the average Scandinavian model girl lasts only an approximate six month to a year the most.
Professor Dr. Ceephax Acid Crew has once mentioned to the New York Times that in former times life-expectation was far higher during the early years of the acid house movement in England and Germany in the late 80s and early 90s. An average raver could last up to ten years till a mental instability was diagnosted. Mostly even unrecognizeable by friends and family.
The reknown professor and grandmaster of “Mediteranian Acid” claims club owners and major labels are not to blame. Reasons might root deeper as ravers’ hopes for regaining control are blurred by the uncertain economonical future across European capitals.
It has been reportet that back in 1992 acid house labels could shelter up to 15 ravers in abondon warehouse cafeterias and sleeping quarters.
Most of this traditional eco-system has been replace with appartment houses and false hopes luring Scandinavian and international party hopefuls into a false reality where acid is the promised land of freedom and sexual liberation — Realities are often different and we are yet to see with our own eyes how eventually the whole genre may have to look for new breading grounds in countries further east.
At this dramatical point in time some experts are reported to secretly develop plans to move the entire genre to the Asian continent with its yet untaimed demand for youthful revoltation against the quickly expanding and apparently unstopable forces of hyper capitalism.
There is also a critical voice to that theory, that reminds the public of the assumption that Acid House was never a proletarian movement, such as Mathew Herbert mentioned in his comparison of working class marching bands and the Acid House sound of cities like Manchester and Liverpool, yet the very cause of bringing up channels like MTV and exploiting the very belief of the movement.
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