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The direct predecessor to moshing was the [[Pogo (dance)|pogo]], a style of dance done in the 1970s English [[punk rock]] scene, in which crowds members would jump up and down while holding their arms beside them.<ref name="Ragusa 2021">{{cite web |last1=Ragusa |first1=Paolo |title=Moshing: The Art and Consequences of One of the Most Celebrated Concert Dance Forms |url=https://consequence.net/2021/08/moshing-history-essay/ |website=[[Consequence (publication)|Consequence]] |access-date=11 July 2023}}</ref> According to [[The Filth and the Fury]], it was invented by [[Sex Pistols]] bassist [[Sid Vicious]] in 1976.<ref>{{cite web|url=http://articles.orlandosentinel.com/2000-06-17/lifestyle/0006160393_1_julien-temple-filth-fury|title=Festival Holds 'Filth', A Secret, Senselessness|date=June 17, 2000|first=Jay|last=Boyar|work=[[Orlando Sentinel]]|author2=Moore, Roger }}</ref>
The direct predecessor to moshing was the [[Pogo (dance)|pogo]], a style of dance done in the 1970s English [[punk rock]] scene, in which crowds members would jump up and down while holding their arms beside them.<ref name="Ragusa 2021">{{cite web |last1=Ragusa |first1=Paolo |title=Moshing: The Art and Consequences of One of the Most Celebrated Concert Dance Forms |url=https://consequence.net/2021/08/moshing-history-essay/ |website=[[Consequence (publication)|Consequence]] |access-date=11 July 2023}}</ref> According to [[The Filth and the Fury]], it was invented by [[Sex Pistols]] bassist [[Sid Vicious]] in 1976.<ref>{{cite web|url=http://articles.orlandosentinel.com/2000-06-17/lifestyle/0006160393_1_julien-temple-filth-fury|title=Festival Holds 'Filth', A Secret, Senselessness|date=June 17, 2000|first=Jay|last=Boyar|work=[[Orlando Sentinel]]|author2=Moore, Roger }}</ref>


As a prominent punk rock scene in [[Southern California]] began to form in the late 1970s and early 1980s with early [[hardcore punk]] groups like [[Fear (band)|Fear]] and [[Black Flag (band)|Black Flag]], moshing as it is understood today began to develop, originally termed "slam dancing".<ref name="Ragusa 2021" /> Participants in slam dancing at this time modified the pogo by bringing additional physical contact to those around them by pushing and running, as well introducing the idea of a recognised area where it takes place called a "pit".<ref>{{cite journal |last1=Tsitsos |first1=William |title=Rules of Rebellion: Slamdancing, Moshing, and the American Alternative Scene |journal=Popular Music |date=October 1999 |volume=18 |issue=3 |page=405–406 |quote=Slamdancing is a style of dance which originated in the United States in the punk rock subculture of the late 1970s and early 1980s. It is a modification of the early punk 'pogo' dance. Slamdancing brought increased body contact to the original pogo...<br> The pit is not an explicitly marked off area, but pits usually form in front of the stage where a band is playing. Occasionally (usually at shows in larger venues), more than one pit will break out in various parts of the crowd. Although 'the pit' refers to an area, a pit only exists if people are dancing in it...<br> Slamdancing involves fast movement. Often, this movement takes the form of everyone in the pit running counter-clockwise, occasionally slamming into each other. The dance involves some arm-swinging, but it is usually just one arm (most often the right one) in motion. When dancers are running counter-clockwise, the swinging of the right arm serves a double function. On the one hand, it allows dancers to slam into people and then quickly push them away, and on the other, it helps dancers gain momentum while running in a counter-clockwise circle. Sometimes, however, slamdancers do not run in a circle, but rather move in a more 'run-and-collide' fashion, simply throwing themselves into the part of the pit where the most people are gathered, slamming into each other}}</ref> ''[[The Orange County Register]]'' writer Tom Berg credited, [[Costa Mesa, California|Costa Mesa]] venue, the [[Cuckoo's Nest (nightclub)|Cuckoo's Nest]] (1976–1981) as the "birthplace of slam dancing".<ref name="Berg2019">{{cite news |author1=Tom Berg |title=O.C. punk club to go Hollywood |url=https://www.ocregister.com/2009/02/10/oc-punk-club-to-go-hollywood/ |access-date=14 April 2020 |work=Orange County Register |date=10 February 2009 |archive-url=https://web.archive.org/web/20191216135601/https://www.ocregister.com/2009/02/10/oc-punk-club-to-go-hollywood/ |archive-date=16 December 2019}}</ref> Examples of this early moshing were featured in the documentaries ''[[Another State of Mind (film)|Another State of Mind]]'', ''Urban Struggle'', ''[[the Decline of Western Civilization]]'', and ''[[American Hardcore (film)|American Hardcore]]''. Fear's 1981 musical performance on ''[[Saturday Night Live]]'' also helped to expose moshing to a much wider audience.<ref>{{cite magazine |last=Grow |first=Kry |date=September 10, 2015 |title=Inside John Belushi's Long Lost Punk Song With Fear |url=https://www.rollingstone.com/movies/movie-features/inside-john-belushis-long-lost-punk-song-with-fear-73830/ |magazine=[[Rolling Stone]] |location=New York City, New York, United States |publisher=[[Penske Media Corporation]] |access-date=May 20, 2020}}</ref><ref>{{cite magazine |last=McCloskey |first=Tim |date=October 30, 2015 |title=The Life and Times of Philly Hardcore Pioneer Lee Ving |url=https://www.phillymag.com/things-to-do/2015/10/30/lee-ving-philadelphia-hard-core/ |magazine=[[Philadelphia (magazine)|Philadelphia]] |location=Philadelphia, Pennsylvania, United States |publisher=[[Metrocorp]] |access-date=May 20, 2020 }}</ref>
As a prominent punk rock scene in [[Southern California]] began to form in the late 1970s and early 1980s with early [[hardcore punk]] groups like [[Fear (band)|Fear]] and [[Black Flag (band)|Black Flag]], moshing as it is understood today began to develop, originally termed "slam dancing".<ref name="Ragusa 2021" /> Participants in slam dancing at this time modified the pogo by bringing additional physical contact to those around them by pushing and running, as well introducing the idea of a recognised area where it takes place called a "pit".<ref>{{cite journal |last1=Tsitsos |first1=William |title=Rules of Rebellion: Slamdancing, Moshing, and the American Alternative Scene |journal=Popular Music |date=October 1999 |volume=18 |issue=3 |page=405–406 |quote=Slamdancing is a style of dance which originated in the United States in the punk rock subculture of the late 1970s and early 1980s. It is a modification of the early punk 'pogo' dance. Slamdancing brought increased body contact to the original pogo...<br> The pit is not an explicitly marked off area, but pits usually form in front of the stage where a band is playing. Occasionally (usually at shows in larger venues), more than one pit will break out in various parts of the crowd. Although 'the pit' refers to an area, a pit only exists if people are dancing in it...<br> Slamdancing involves fast movement. Often, this movement takes the form of everyone in the pit running counter-clockwise, occasionally slamming into each other. The dance involves some arm-swinging, but it is usually just one arm (most often the right one) in motion. When dancers are running counter-clockwise, the swinging of the right arm serves a double function. On the one hand, it allows dancers to slam into people and then quickly push them away, and on the other, it helps dancers gain momentum while running in a counter-clockwise circle. Sometimes, however, slamdancers do not run in a circle, but rather move in a more 'run-and-collide' fashion, simply throwing themselves into the part of the pit where the most people are gathered, slamming into each other}}</ref> According to [[Steven Blush]]'s book ''[[American Hardcore: A Tribal History]]'' (2001), there is a common belief amongst those involved in this scene that the dance was invented by, former US army marine, Mike Marine in 1978. His specific style, involving "strutting around in a circle, swinging your arms and hitting everyone within reach", would go on to be termed "the Huntington Beach Strut".<ref>{{cite book |last1=Blush |first1=Steven |author-link=Steven Blush |title=[[American Hardcore: A Tribal History]] |date=October 2001 |publisher=[[Feral House]] |page=31 |quote=Slamdancing arose in Southern California towns like Huntington Beach and Long Beach. According to lore, Mike Marine (former US Marine and star of the film ''The Decline Of Western Civilization'') performed the first slamdance in 1978. Mike created a vicious version of punk dancing, smashing the face of anyone who’d get near him — especially some fucking hippie, who’d get pulverized. Kids called it "The Huntington Beach Strut" or "The HB Strut" — strutting around in a circle, swinging your arms and hitting everyone within reach. Slamdancing proved significant because it separated the kids from the "posers."}}</ref> ''[[The Orange County Register]]'' writer Tom Berg credited, [[Costa Mesa, California|Costa Mesa]] venue, the [[Cuckoo's Nest (nightclub)|Cuckoo's Nest]] (1976–1981) as the "birthplace of slam dancing".<ref name="Berg2019">{{cite news |author1=Tom Berg |title=O.C. punk club to go Hollywood |url=https://www.ocregister.com/2009/02/10/oc-punk-club-to-go-hollywood/ |access-date=14 April 2020 |work=Orange County Register |date=10 February 2009 |archive-url=https://web.archive.org/web/20191216135601/https://www.ocregister.com/2009/02/10/oc-punk-club-to-go-hollywood/ |archive-date=16 December 2019}}</ref> Examples of this early moshing were featured in the documentaries ''[[Another State of Mind (film)|Another State of Mind]]'', ''Urban Struggle'', ''[[the Decline of Western Civilization]]'', and ''[[American Hardcore (film)|American Hardcore]]''. Fear's 1981 musical performance on ''[[Saturday Night Live]]'' also helped to expose moshing to a much wider audience.<ref>{{cite magazine |last=Grow |first=Kry |date=September 10, 2015 |title=Inside John Belushi's Long Lost Punk Song With Fear |url=https://www.rollingstone.com/movies/movie-features/inside-john-belushis-long-lost-punk-song-with-fear-73830/ |magazine=[[Rolling Stone]] |location=New York City, New York, United States |publisher=[[Penske Media Corporation]] |access-date=May 20, 2020}}</ref><ref>{{cite magazine |last=McCloskey |first=Tim |date=October 30, 2015 |title=The Life and Times of Philly Hardcore Pioneer Lee Ving |url=https://www.phillymag.com/things-to-do/2015/10/30/lee-ving-philadelphia-hard-core/ |magazine=[[Philadelphia (magazine)|Philadelphia]] |location=Philadelphia, Pennsylvania, United States |publisher=[[Metrocorp]] |access-date=May 20, 2020 }}</ref>


The [[New York hardcore]] scene of the mid-1980s, modified this early slam dancing into the more overtly violent "moshing" style. In this distinction, participants may stay in one position on their own or collide with others, while executing a more exaggerated version of the arm and leg swinging of California slam dancing.<ref>{{cite journal |last1=Tsitsos |first1=William |title=Rules of Rebellion: Slamdancing, Moshing, and the American Alternative Scene |journal=Popular Music |date=October 1999 |volume=18 |issue=3 |page=405–406, 410 |quote=Much like slamdancing was a modification of the pogo, moshing emerged in the mid-1980s as a variation on slamdancing...<br> In contrast to slamdancing, moshing lacks the elements, such as circular pit motion, which promote unity in the pit. The development of moshing in New York City in the 1980s even saw the partial breakdown of the convention of picking up fallen dancers, as pit violence increased. New York City straight edge shows became legendary for their brutality...<br>Moshers keep their bodies more bent over and compacted, and they swing either both arms or just one (usually the right) arm around across the body in a move that one of my interviewees called 'the death swing'. This swinging of the arm(s) in moshing is far more theatrical and exaggerated than in slamdancing. If a mosher swings only one arm, the non-swinging arm is kept ready to provide some guard against collisions with other moshers. The dancers often stand in a stationary position while performing these moves, but sometimes they run into other people inside and on the edge of the pit. To do so, dancers generally just move to where there are other dancers clustered and colliding with each other and join in the collision. This run-and-collide style of moshing can be distinguished from the style of slamdancing which also involves running and colliding by the more exaggerated body movements in moshing. Moshers do not move in counter-clockwise group motion...<br>Compared with slamming, the fundamental body movements of moshing, such as the more violent swinging of the arms, the more violent body contact, and the lack of group motion place even greater emphasis on individual territoriality over community. Whereas the bodily motion of swinging arms and high-stepping legs has remained the traditional motion of slamdancing since it first emerged, moshing has seen the introduction of new moves such as jumping karate kicks.}}</ref>
The [[New York hardcore]] scene of the mid-1980s, modified this early slam dancing into the more overtly violent "moshing" style. In this distinction, participants may stay in one position on their own or collide with others, while executing a more exaggerated version of the arm and leg swinging of California slam dancing.<ref>{{cite journal |last1=Tsitsos |first1=William |title=Rules of Rebellion: Slamdancing, Moshing, and the American Alternative Scene |journal=Popular Music |date=October 1999 |volume=18 |issue=3 |page=405–406, 410 |quote=Much like slamdancing was a modification of the pogo, moshing emerged in the mid-1980s as a variation on slamdancing...<br> In contrast to slamdancing, moshing lacks the elements, such as circular pit motion, which promote unity in the pit. The development of moshing in New York City in the 1980s even saw the partial breakdown of the convention of picking up fallen dancers, as pit violence increased. New York City straight edge shows became legendary for their brutality...<br>Moshers keep their bodies more bent over and compacted, and they swing either both arms or just one (usually the right) arm around across the body in a move that one of my interviewees called 'the death swing'. This swinging of the arm(s) in moshing is far more theatrical and exaggerated than in slamdancing. If a mosher swings only one arm, the non-swinging arm is kept ready to provide some guard against collisions with other moshers. The dancers often stand in a stationary position while performing these moves, but sometimes they run into other people inside and on the edge of the pit. To do so, dancers generally just move to where there are other dancers clustered and colliding with each other and join in the collision. This run-and-collide style of moshing can be distinguished from the style of slamdancing which also involves running and colliding by the more exaggerated body movements in moshing. Moshers do not move in counter-clockwise group motion...<br>Compared with slamming, the fundamental body movements of moshing, such as the more violent swinging of the arms, the more violent body contact, and the lack of group motion place even greater emphasis on individual territoriality over community. Whereas the bodily motion of swinging arms and high-stepping legs has remained the traditional motion of slamdancing since it first emerged, moshing has seen the introduction of new moves such as jumping karate kicks.}}</ref>

Revision as of 16:52, 13 July 2023

For other uses, see Mosh (disambiguation).
Moshing
Audience members moshing to American thrash metal band Toxic Holocaust
OriginEarly 1980s, California and Washington, D.C., United States

Moshing (also known as slam dancing or simply slamming)[1] is an extreme style of dancing in which participants push or slam into each other, typically performed to "aggressive" live music such as heavy metal and punk rock. Moshing usually happens in the center of the crowd, generally closer to the stage,[2] in an area called the "mosh pit". It is intended to be energetic and full of body contact.

The dance style originated in the hardcore punk scenes of California and Washington, D.C., around 1980. Through the 1980s it spread to other branches of punk rock as well as grunge and thrash metal, which exposed it to the mainstream. Since then, moshing has occasionally been performed to energetic music within a wide variety of genres, including alternative rock, electronic dance music and hip hop, while remaining a staple in heavy metal shows.

Variations of moshing exist, including "pogoing", "circle pits", and "wall of death". Dancing can be done alone as well as in groups.

While moshing is seen as a form of positive fan feedback or expression of enjoyment,[3][4] it has also drawn criticism over dangerous excesses in its violence. Injuries and even deaths have been reported in the crush of mosh pits.[5][6][7][8][9]

History

Etymology

The term mosh came into use in the early 1980s American hardcore scene in Washington, D.C. Early on, the dance was frequently spelled mash in fanzines and record liner notes, but pronounced mosh, as in the 1982 song "Total Mash" by the D.C.-based hardcore band Scream. H.R. of the band Bad Brains, regarded as a band that "put moshing on the map,"[10] used the term mash in lyrics and in concert stage banter to both incite and to describe the aggressive and often violent dancing of the scene. To "mash it up" was to go wild with the frenzy of the music. Due to his Jamaican-accented pronunciation of the word, fans heard this as mosh instead.[11]

By the mid-1980s, the term was appearing in print with its current spelling. By the time thrash metal band Anthrax used the term in their song "Caught in a Mosh",[12] the word was already a mainstay of hardcore and thrash scenes. Scott Ian and Charlie Benante of Anthrax and Stormtroopers of Death have both been credited with the term originating from Vinnie Stigma of the New York hardcore band Agnostic Front. Through the mainstream success of bands like Anthrax, Stormtroopers of Death, and multiple thrash metal bands in the late 1980s, the term came into the popular vernacular.[citation needed]

Origins

Crowd surfing over a mosh pit

The direct predecessor to moshing was the pogo, a style of dance done in the 1970s English punk rock scene, in which crowds members would jump up and down while holding their arms beside them.[13] According to The Filth and the Fury, it was invented by Sex Pistols bassist Sid Vicious in 1976.[14]

As a prominent punk rock scene in Southern California began to form in the late 1970s and early 1980s with early hardcore punk groups like Fear and Black Flag, moshing as it is understood today began to develop, originally termed "slam dancing".[13] Participants in slam dancing at this time modified the pogo by bringing additional physical contact to those around them by pushing and running, as well introducing the idea of a recognised area where it takes place called a "pit".[15] According to Steven Blush's book American Hardcore: A Tribal History (2001), there is a common belief amongst those involved in this scene that the dance was invented by, former US army marine, Mike Marine in 1978. His specific style, involving "strutting around in a circle, swinging your arms and hitting everyone within reach", would go on to be termed "the Huntington Beach Strut".[16] The Orange County Register writer Tom Berg credited, Costa Mesa venue, the Cuckoo's Nest (1976–1981) as the "birthplace of slam dancing".[17] Examples of this early moshing were featured in the documentaries Another State of Mind, Urban Struggle, the Decline of Western Civilization, and American Hardcore. Fear's 1981 musical performance on Saturday Night Live also helped to expose moshing to a much wider audience.[18][19]

The New York hardcore scene of the mid-1980s, modified this early slam dancing into the more overtly violent "moshing" style. In this distinction, participants may stay in one position on their own or collide with others, while executing a more exaggerated version of the arm and leg swinging of California slam dancing.[20]

Crossover into mainstream genres

By the end of the 1980s, the initial wave of American hardcore punk had waned and split into other subgenres. The Seattle-based grunge movement was among the many styles of music that directly evolved from hardcore.[citation needed] Through the mainstream success of several grunge bands, the word mosh entered the popular North American vocabulary and the dance spread to many other music genres.[citation needed] According to John Linnell of They Might Be Giants, "it didn’t matter what kind of music you were playing or what kind of band you were; everybody moshed to everything. It was just kind of the enforced rule of going to concerts."[21]

Variations

A circle pit is a form of moshing in which participants run in a circular motion around the edges of the pit, often leaving an open space in the centre.[22]

A wall of death is a form of moshing which sees the audience divide down the middle into two halves either side of the venue, before each side runs towards the other, slamming the two sides together.[22] According to Noisecreep, the consensus is that it was invented by American hardcore punk band Sick of it All.[23] However, the band's vocalist Lou Koller has stated that he merely revived the practice in 1996, as he often saw a similar act performed in the 1980s New York hardcore scene.[24] Loudwire senior writer Graham Hartmann referred to it as "Perhaps the most bad ass and dangerous ritual you can experience in a mosh pit".[23] Venues will often ask bands not to organize the Wall of Death themselves due to the inherent risk involved and liability.[25]

Hardcore dancing is a term that covers multiple style of moshing[26] including windmilling[27] two stepping, floorpunching, picking up pennies, axehandling, bucking, and wheelbarrowing.[28] The practice began in New York City in the 1980s.[28]

Crowd killing is when a mosher moshes against the crowd around the sides of the pit. According to Kerrang! writer Amanda van Poznak it is generally looked down upon.[29]

Physical properties of emergent behavior

A clip of moshing music fans

Researchers from Cornell University studied the emergent behavior of crowds at mosh pits by analyzing online videos, finding similarities with models of 2-D gases in equilibrium.[30] Simulating the crowds with computer models, they found out that a simulation dominated by flocking parameters produced highly ordered behavior, forming vortices like those seen in the videos.

Opposition, criticism and controversy

The American post-hardcore band Fugazi opposed slamdancing at their live shows. Members of Fugazi were reported to single out and confront specific members of the audience, politely asking them to stop hurting other audience members, or hauling them on stage to apologize on the microphone.[31]

Consolidated, an industrial dance group of the 1990s, stood against moshing. On their third album, Play More Music, they included the song "The Men's Movement", which proclaimed the inappropriate nature of slamdancing. The song consisted of audio recordings during concerts from the audience and members of Consolidated, arguing about moshing.[32]

A no-moshing sign at a concert

In the 1990s, the Smashing Pumpkins took a stance against moshing, following two incidents which resulted in fatalities. At a 1996 Pumpkins concert in Dublin, Ireland, 17-year-old Bernadette O'Brien was crushed by moshing crowd members and later died in the hospital, despite warnings from the band that people were getting hurt.[33] At another concert, singer Billy Corgan said to the audience:

I just want to say one thing to you, you young, college lughead-types. I've been watchin' people like you sluggin' around other people for seven years. And you know what? It's the same shit. I wish you'd understand that in an environment like this, and in a setting like this, it's fairly inappropriate and unfair to the rest of the people around you. I, and we, publicly take a stand against moshing![33]

Another fan died at a Smashing Pumpkins concert in Vancouver, British Columbia, Canada, on September 24, 2007. The 20-year-old male was dragged out of the mosh pit, unconscious, to be pronounced dead at a hospital after first-aid specialists attempted to save him.[34][35][36]

A crowd of moshers, with a few people "crowdsurfing" on top of the mosh pit

Reel Big Fish's 1998 album Why Do They Rock So Hard? included their mosh-criticizing song "Thank You for Not Moshing", which contained lyrics that suggested that at least some individuals in the mosh pit were simply bullies who were finding conformity in the violence.

Mike Portnoy, founder and ex-drummer of Dream Theater, and Avenged Sevenfold where he briefly filled in after the death of The Rev, criticized moshing in an interview published on his website:

I think our audience have become a little bit more attentive and less of that type of [mosh] mentality [...] I understand you want to release that energy... [but] once people start doing that during "Through Her Eyes" it gets ridiculous [...] So this time around we're consciously aiming at theaters that people can actually sit down and enjoy the show and be comfortable [...] without having to worry about their legs falling off or being kicked in the face by a Mosh Pit. So [that] will probably eliminate that problem anyway.[37]

Sixteen-year-old Jessica Michalik was an Australian girl who died as a result of asphyxiation after being crushed in a mosh pit during the 2001 Big Day Out festival during a performance by nu metal band Limp Bizkit.[38] At that same festival, post-hardcore band At The Drive-In ended their set early after only three songs due to the audience's moshing.[39]

Groove metal group Five Finger Death Punch had an incident when, during the song "White Knuckles" at a concert in Hartford, Connecticut, a young man received a compound fracture on his ankle in a mosh pit. Ivan Moody, the band's lead singer, stopped the show, leaped into the crowd with Zoltan Bathory, the band's rhythm guitarist, and carried the injured fan onto the stage, from where he was taken to the hospital. Moody has been quoted as saying: "I looked him square in the face and asked him if he was okay, or if there was anything I could do for him. He looked over at me, still in shock, and said 'You guys fucking rock!'" Moody stated "I've felt bad because of what has happened. I miss the old Pantera kids who would just throw each other. Just respect other people; come on." Bathory stated: "Because he broke his leg I threw down my guitar. We just finished when he broke his leg, and I came out and I stayed with him until the paramedics picked him up. These are my people and that's how it is."[citation needed]

Joey DeMaio of American heavy metal band Manowar has been known to temporarily stop concerts upon seeing moshing and crowd surfing, claiming it is dangerous to other fans.[40][41]

Former Slipknot percussionist Chris Fehn spoke about the state of audience interaction following the onstage incident and subsequent legal issues involving Lamb of God’s Randy Blythe, who was eventually found not guilty of criminal wrongdoing in the death of a concertgoer, despite being held "morally responsible". Fehn briefly addressed the Blythe situation, stating "I think, especially in America, moshing has turned into a form of bullying. The big guy stands in the middle and just trucks any small kid that comes near him. They don’t mosh properly anymore. It sucks because that’s not what it’s about. Those guys need to be kicked out. A proper mosh pit is a great way to be as a group and dance, and just do your thing."[42]

See also

References

  1. ^ Moriarty, Philip. When the Uncertainty Principle Goes to 11.
  2. ^ "10 Epic Walls of Death". LoudWire. Retrieved 12 May 2015.
  3. ^ Tsitsos, William
  4. ^ Pogrebin, Robin (May 9, 1996). "Hard-Core Threat to Health: Moshing at Rock Concerts". The New York Times. Retrieved 2007-12-14.
  5. ^ Nussbacher, Mike (2004) A Survivor’s Guide To The Mosh Pit. The Martlet. Archived March 18, 2009, at the Wayback Machine
  6. ^ "TUYM: Get Into a Moshpit and Live to Tell About It". Retrieved 11 May 2017.
  7. ^ Sacahroff, Reaz (1996) Music: Pit Etiquette. Tucson Weekly.
  8. ^ Irvine, Martha (1996) Moshing Exciting but dangerous Archived 2007-06-26 at the Wayback Machine. Associated Press. at rockmed.org
  9. ^ Brulliard, Karin ‘I just, like, took my last breath. And I passed out.’ Washington Post 11 November 2021.
  10. ^ "Bad Brains biography". From 2004's The New Rolling Stone Album Guide. Rolling Stone. 2004. Archived from the original on June 29, 2007. Retrieved 2007-05-14.
  11. ^ "Bad Brains – History". peacedogman.com. 2002. Archived from the original on 2007-09-29. Retrieved 2007-05-14.
  12. ^ Christie, Ian, Sound of the Beast: The Complete Headbanging History of Heavy Metal
  13. ^ a b Ragusa, Paolo. "Moshing: The Art and Consequences of One of the Most Celebrated Concert Dance Forms". Consequence. Retrieved 11 July 2023.
  14. ^ Boyar, Jay; Moore, Roger (June 17, 2000). "Festival Holds 'Filth', A Secret, Senselessness". Orlando Sentinel.
  15. ^ Tsitsos, William (October 1999). "Rules of Rebellion: Slamdancing, Moshing, and the American Alternative Scene". Popular Music. 18 (3): 405–406. Slamdancing is a style of dance which originated in the United States in the punk rock subculture of the late 1970s and early 1980s. It is a modification of the early punk 'pogo' dance. Slamdancing brought increased body contact to the original pogo...
    The pit is not an explicitly marked off area, but pits usually form in front of the stage where a band is playing. Occasionally (usually at shows in larger venues), more than one pit will break out in various parts of the crowd. Although 'the pit' refers to an area, a pit only exists if people are dancing in it...
    Slamdancing involves fast movement. Often, this movement takes the form of everyone in the pit running counter-clockwise, occasionally slamming into each other. The dance involves some arm-swinging, but it is usually just one arm (most often the right one) in motion. When dancers are running counter-clockwise, the swinging of the right arm serves a double function. On the one hand, it allows dancers to slam into people and then quickly push them away, and on the other, it helps dancers gain momentum while running in a counter-clockwise circle. Sometimes, however, slamdancers do not run in a circle, but rather move in a more 'run-and-collide' fashion, simply throwing themselves into the part of the pit where the most people are gathered, slamming into each other
  16. ^ Blush, Steven (October 2001). American Hardcore: A Tribal History. Feral House. p. 31. Slamdancing arose in Southern California towns like Huntington Beach and Long Beach. According to lore, Mike Marine (former US Marine and star of the film The Decline Of Western Civilization) performed the first slamdance in 1978. Mike created a vicious version of punk dancing, smashing the face of anyone who'd get near him — especially some fucking hippie, who'd get pulverized. Kids called it "The Huntington Beach Strut" or "The HB Strut" — strutting around in a circle, swinging your arms and hitting everyone within reach. Slamdancing proved significant because it separated the kids from the "posers."
  17. ^ Tom Berg (10 February 2009). "O.C. punk club to go Hollywood". Orange County Register. Archived from the original on 16 December 2019. Retrieved 14 April 2020.
  18. ^ Grow, Kry (September 10, 2015). "Inside John Belushi's Long Lost Punk Song With Fear". Rolling Stone. New York City, New York, United States: Penske Media Corporation. Retrieved May 20, 2020.
  19. ^ McCloskey, Tim (October 30, 2015). "The Life and Times of Philly Hardcore Pioneer Lee Ving". Philadelphia. Philadelphia, Pennsylvania, United States: Metrocorp. Retrieved May 20, 2020.
  20. ^ Tsitsos, William (October 1999). "Rules of Rebellion: Slamdancing, Moshing, and the American Alternative Scene". Popular Music. 18 (3): 405–406, 410. Much like slamdancing was a modification of the pogo, moshing emerged in the mid-1980s as a variation on slamdancing...
    In contrast to slamdancing, moshing lacks the elements, such as circular pit motion, which promote unity in the pit. The development of moshing in New York City in the 1980s even saw the partial breakdown of the convention of picking up fallen dancers, as pit violence increased. New York City straight edge shows became legendary for their brutality...
    Moshers keep their bodies more bent over and compacted, and they swing either both arms or just one (usually the right) arm around across the body in a move that one of my interviewees called 'the death swing'. This swinging of the arm(s) in moshing is far more theatrical and exaggerated than in slamdancing. If a mosher swings only one arm, the non-swinging arm is kept ready to provide some guard against collisions with other moshers. The dancers often stand in a stationary position while performing these moves, but sometimes they run into other people inside and on the edge of the pit. To do so, dancers generally just move to where there are other dancers clustered and colliding with each other and join in the collision. This run-and-collide style of moshing can be distinguished from the style of slamdancing which also involves running and colliding by the more exaggerated body movements in moshing. Moshers do not move in counter-clockwise group motion...
    Compared with slamming, the fundamental body movements of moshing, such as the more violent swinging of the arms, the more violent body contact, and the lack of group motion place even greater emphasis on individual territoriality over community. Whereas the bodily motion of swinging arms and high-stepping legs has remained the traditional motion of slamdancing since it first emerged, moshing has seen the introduction of new moves such as jumping karate kicks.
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  30. ^ Silverberg, Jesse L.; Bierbaum, Matthew; Sethna, James P.; Cohen, Itai (2013). "Collective Motion of Humans in Mosh and Circle Pits at Heavy Metal Concerts". Physical Review Letters. 110 (22): 228701. arXiv:1302.1886. Bibcode:2013PhRvL.110v8701S. doi:10.1103/PhysRevLett.110.228701. PMID 23767754.. Summarized in "Moshers, Heavy Metal and Emergent Behaviour". Technology Review.
  31. ^ Azerrad, Michael (2002). Our Band Could Be Your Life: Scenes from the American Indie Underground 1981–1991 (Reprint. ed.). New York, N.Y.: Back Bay Books. pp. 392–393. ISBN 978-0-316-78753-6.
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