Speaker C: The video showed people moshing in a dank, dark high school gym, and with that, moshing went mainstream. Speaker C: In 1992, Nirvana’s Smells Like Teen Spirit became the biggest song in the world. Speaker C: By the early 1990s, it had spread to the dozens of offshoots of punk as well as heavy metal and grunge. Speaker D: And invent a completely new word, mashing. Speaker D: I can assume, like, a bunch of white kids in the audience hear him say Mash down Babylon and don’t already know that phrase. Speaker C: During a Bad Brain show, the lead singer said to mash Down Babylon, which had appeared in a number of old reggae songs, like this one, performed by Leroy King. Speaker C: He says the story goes that the term originated in the early 80s with Bad Brains, an influential hardcore band whose members were Black and Ross Stefari. Speaker C: James Spooner is an artist and filmmaker behind the Afropunk Documentary and Music Festival. Speaker D: As I understand it, the word mosh comes from a misinterpretation. Speaker C: What he’s doing is basically what we think of as moshing, but in the early 80s, most people weren’t calling it that yet. ![]() Speaker D: Some people call it slamming and some people call it pogling and some call it the skang, but I just call it dancing, because that’s normally what you’re doing. ![]() Speaker C: As he’s talking, he’s demonstrating, bent over at the waist, swinging his arms and pacing in a circle. Speaker C: The young man talking is in a small, empty dingy room and he’s wearing a white T shirt and trousers and he has closely shorn hair. Speaker D: It doesn’t matter if you fall down or not, because your Budy’s going to be there to pick you up, or someone’s going to pick you up. Speaker C: Scene from the 1983 documentary Another State of Mind, about two punk bands on tour. Speaker D: And if you keep moving around in a circle like this, because that’s the way the pit moves, is in a circle people jumping on this is a. Speaker C: It was also at hardcore shows that some pits begin to take the shape often seen at concerts today. Speaker E: But while you’re in it, it’s this incredible, powerful force. Speaker E: There’s an inner peace in that storm that you find with the like minded people, and the minute you step out of that, you’re back to reality. Speaker C: The violence at hardcore shows could be a lot, but it was communal. Speaker E: I compare it a lot to Lord of the Flies, where the kids have to run their own society and it works out really well for a while and then it eventually goes to h***. Speaker C: Stephen Blush is the director of American Hardcore. Speaker E: There was nothing more taking it to the furthest extreme than destroying everybody in the crowd. Speaker C: And at every hardcore show you could find exactly that attendees going off. Speaker C: And now I have a chance to be with a bunch of my own type of people and I have a chance to go off. Either way, I’ll be looking forward to this show again in the future.Speaker C: This is Keith Morris of the hardcore band’s Circle Jerks and Black Flag talking about the scene’s attitude in the documentary American Hardcore. ![]() Fiddler’s Green Amphitheater is a beautiful venue, just not for a metal show. The constant struggle to push through the crowd, getting as close as you can to you favorite artists. Metal shows are about rubbing elbows with new people, the adrenaline the rushes through you when surrounded by a pit. All and all it was one of the best shows I have been to. Every band played on time, no sound issues beside the one guitar mishap. It showed the professionalism of event crew. Even Sin Quirin of Ministry was fraternizing with the fans after his set. They were out with the crowds cheering on the other musicians. It showed the support each band hand for each other, like Nathaniel Valdez and Eric Riely of In the Whale and all the members of Lola Black. True this show was about the music, but it delivered so much more.
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