In the early 1990s, a new phenomenon emerged in New York City’s underground scene: rave culture. At the heart of this movement were events called ‘NASA.’ It was held at The Shelter in Tribeca.
In 1992 and 1993, NASA at The Shelter became a hub for young New Yorkers. They were seeking a new kind of nightlife experience. The events were characterized by a raw energy and a legendary sound system. Because of a strictly no-alcohol policy, it attracted a crowd of very young ravers. This created an atmosphere that was both intense and innocent. It was seminal — Berghain for 14-year-olds. It was also, for many, an introduction to MDMA. The style of dress was new and exciting, and also quite juvenile.
NASA at The Shelter was more than just a party; it was a cultural moment. It represented a break from the established norms of NYC nightlife. The focus was a rejection of alcohol-fueled excess in favor of a pure, unadulterated emphasis on music and community. Because they didn’t serve alcohol, it was an all-ages event, attracting a very young crowd of ravers.
These events focused on sound quality and immersive experience. Their influence helped shape the trajectory of NYC’s electronic music scene. They laid the foundation for the city’s future as a global epicenter of rave culture.
Some of the DJs who graced the decks at NASA included Moby, Kevin Saunderson, DB, D’Julz, Destructo (Gary Richards), Josh Wink, Richie Hawtin, Mark Spoon, Sven Vath, Orbital, Liam of the Prodigy, Junior Sanchez, Lenny Dee, Jason Jinx, Scott Henry, Jackie Christie, On-E, Mr. Kleen, Adam X, Frankie Bones, Heather Heart, Joey Beltram, Dmitry (Deee-Lite), Fierce Ruling Diva, Dubtribe, Scott Hardkiss, DJ Onionz, Joesky, Scott Richmond, Doc Martin, and John Acquaviva, all of whom contributed to the unique sound and energy of the events.
NASA = “Nocturnal Audio Sensory Awakening”
Read more: https://pitchfork.com/features/article/9562-rave-new-world-revisited/
see the Flyers: http://www.scotto.tv/NASAflyers.html
“You’d see the same faces every week. NASA wasn’t like, say, a rave on Long Island—it transcended raves. I knew I was experiencing one of the best clubs ever.”
— Chloë Sevigny
The whole U.S. rave scene then had such a gentle, celebratory quality to it. It felt so utopian, like we’d created this benign future. Everything was new: the music was new, the fashion was new, and the drugs were kind of new, too.
— Moby
