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“He was using these arcane cabaret laws to shut down the huge clubs, and there were times when the lights would suddenly come on and armed police would literally storm the dancefloor. “When Giuliani decided he wanted New York to be more ‘family friendly,’ it was almost as if nightlife came under martial law,” longtime NYC DJ and producer W. No more David Morales ripping off his shirt, his sets a booming conduit between Ministry of Sound and the Sound Factory. No more weekend-long ragers of Danny Tenaglia pumping his Tourism tracks, no more Junior Vasquez transmuting Aphrohead’s “In the Dark We Live” or DJ Pierre’s “Atom Bomb” into 40-minute journeys through the wormhole. The party was over.Īlong with the big rooms, so too vanished that famed New York big room sound, the beats-heavy, forward-thrusting rush that swept up clubgoers at the door and drove them hard through the night into dawn. One by one the cavernous Manhattan dance palaces shuttered, the club kids went into rehab or media, legendary party hostess Susanne Bartsch hung up her bejeweled platforms and the “big rooms” vanished in a poof of stale strawberry-scented fog, slated for conversion into artisanal markets or tech incubators. But then the 2000s approached, with soaring real estate prices, Mayor Giuliani’s heavy-handed crackdown on dance clubs and an exodus of artists and party people to Brooklyn. The well-worn narrative of contemporary New York City gay nightlife goes something like this: Once in the Go-Go ’90s, everybody was wild, free, creatively made-up, shit-faced and often pantsless on the dancefloors of giant clubs like Palladium, Limelight, Sound Factory, Tunnel, Twilo, Vinyl, The Roxy, Red Zone, Shelter and Club USA.