Editing Moshing (section)

===Mainstream crossover (1990s–present)===
[[File:Onyx live 2014.jpg|thumb|[[Onyx (hip hop group)|Onyx]] helped popularised moshing in hip hop with their 1993 single "[[Slam (Onyx song)|Slam]]".]]
Moshing entered mainstream consciousness with the rise of [[grunge]] in the early 1990s. Grunge becoming the dominant force in rock music, brought with it aspects of genres like hardcore, punk and ska, and in turn, pop culture became aware of the mosh pit.<ref>{{cite book |last1=Ambrose |first1=Joe |title=The Violent World Of Moshpit Culture |date=2010 |publisher=[[Omnibus Press]] |quote=Out of Seattle came a wave of rock bands who played no part in the cock-rock circuit on which the likes of Def Leppard and Whitesnake were cleaning up. Nirvana, in particular, became the most commercially successful punk band of all time. Jeff Inman, writing in the Las Vegas Weekly, said that, "Suddenly pop culture wasn't dominated by guys just thinking with their Johnsons. Men like Cobain, Eddie Vedder, and Billy Corgan helped rock move up the spinal cord from the crotch to the brain."...<br>The mainstream of rock was invaded once more by junkies, layabouts, girly boys, and righteous deviants from the norm. Between '90 and '95 disenfranchised fringe-scene punks wiped out lucrative pomp rock and replaced it with the myriad genres within which mosh pits as we know them emerged and exploded. Hardcore, skacore, grindcore, emo, straight edge, punk, punk pop, were just some of the genres that swamped and replaced cock rock.}}</ref> This was exacerbated by the success of [[Lollapalooza]], which began in 1991 as a touring festival. In his book ''Festivals: A Music Lover's Guide to the Festivals You Need To Know'', writer Oliver Keens stated that "Lollapalooza's greatest impact was to expose Middle America to the joys of stage-diving and moshing...You can see Lollapalooza's legacy in the way mosh pits have become an integral part of youth culture; beyond rock and metal".<ref>{{cite book |last1=Keens |first1=Oliver |title=Festivals: A Music Lover's Guide to the Festivals You Need To Know |date=August 31, 2021 |publisher=Frances Lincoln |page=66 |quote=But perhaps Lollapalooza's greatest impact was to expose Middle America to the joys of stage-diving and moshing. Born in punk clubs and hardcore venues, they went national when Lollapalooza's audiences moshed in the beloved national parks and sports arenas of George Bush Snr's America. It was so new and perplexing to staff in each city that, as Jobson pointed out, 'We were having to educate security guys to not smash kids' faces in. They had never experienced anything like this before, to get kids out from a barricade and seat them off to the sides and give them water. You can see Lollapalooza's legacy in the way mosh pits have become an integral part of youth culture; beyond rock and metal, they're now firmly de rigueur in rap, too.}}</ref> By 1992, the practice had become so common that concertgoers began to mosh to non-aggressive rock bands like [[the Cranberries]].<ref>{{cite book |last1=King |first1=Ian |title=Appetite for Definition: An A-Z Guide to Rock Genres |date=November 29, 2018 |publisher=HarpPeren |pages=124–125 |quote=By the end of 1991, America was ready to throw down in the pit, not sway back and forth on its heels. Moshing became so common that it even happened at Cranberries' concerts, during "Linger." The Irish band even set aside their folk-ish, dreamy pop long enough to write their grunge-y "Zombie" anthem, appeasing the flanneled masses.}}</ref>

Moshing slowly entered [[hip hop music|hip hop]] during live performances by the [[Beastie Boys]], who began as a hardcore punk band before adopting the hip hop style they became known for.<ref name="Pandya, 2017" /> During [[Public Enemy]] and [[Ice-T]]'s European tour in the late 1980s, the artists witnessed moshing during their performances, which was still not commonplace during hip hop concerts.<ref>{{cite magazine |last1=Leight |first1=Elias |title=How Rappers Like Lil Uzi Vert & Travis Scott Made Moshing & Metal Tees Mainstream in Hip-Hop |url=https://www.billboard.com/music/rb-hip-hop/lil-uzi-vert-travis-scott-moshing-metal-tees-punk-hip-hop-7841101/ |magazine=[[Billboard (magazine)|Billboard]] |access-date=14 July 2023}}</ref> The 1991 collaboration song ''[[Bring the Noise#Anthrax version|Bring the Noise]]'' by thrash metal band Anthrax and hip hop group Public Enemy led to a number of mixed genre tours, which brought metal's moshing to the attention of hip hop fans. This was solidified as a part of hip hop by [[Onyx (hip hop group)|Onyx]]'s 1993 single "[[Slam (Onyx song)|Slam]]", a song which alluded to slam dancing and had a music video featuring moshing. Following the video's release, pits became increasingly common during performances by hip hop artists including [[Busta Rhymes]], [[M.O.P.]] and the [[Wu-Tang Clan]].<ref name="Pandya, 2017">{{cite news |last1=Pandya |first1=Hershal |title=Tracking the Evolution of the Hip-Hop Mosh Pit |newspaper=Djbooth |url=https://djbooth.net/features/2017-05-15-evolution-of-the-hip-hop-mosh-pit |access-date=14 July 2023}}</ref>

Moshing has been present during [[electronic dance music]] performance since at least 1996, with [[the Prodigy]]'s performance at [[Endfest]].<ref>{{cite book |last1=King |first1=Ian |title=Appetite for Definition: An A-Z Guide to Rock Genres |date=November 29, 2018 |publisher=HarpPeren |page=34 |quote=Collins persuaded half of those leaving to return. "It just went off. It was the first time I'd seen [electronica] work with grunge kids. It was an amazing moment for these kids who all of a sudden don’t know what to do... they’re going to mosh because they don’t really know how to dance, and the Prodigy played into it."}}</ref> By 1999, moshing had become commonplace during [[techno]] performances, especially [[Hardcore (electronic dance music genre)|hardcore techno]]. At late 1990s parties such as New York's H-Bomb, Milwaukee's Afternoon Delight and Los Angeles' Twilight, attendees inverted the intellectualism and [[PLUR]] credo which permeated electronic music genres, like [[intelligent dance music]], earlier in the decade, by incorporating crowd participation acts similar to those found at hardcore punk, metal and goth performances.<ref>{{cite journal |last1=Blashill |first1=Pat |title=Loud, Fast, and Out of Control |journal=[[Spin (magazine)|Spin]] |date=Aug 1999 |page=132 |quote=Techno has always been inner space music, built for dancing with yourself. But now, techno fans who really want to feel something-fear, disgust, or the occasional bloody nose-are turning to hardcore. Hardcore parties are lusty, sloppy, and fiendishly hedonistic-like pure, old-fashioned rock'n'roll. "A lot of people have tried to prove that beer doesn't go with techno," snickers Matt Bonde, editor of the Milwaukee fanzine Massive, the bible of the scene. "But the Massive posse have proven it can and does."<br>After years of intellectual electronica artists preaching "good vibes" and fans talking about "unity," some ravers are acting their age: Despite their Elmo backpacks, they, too, want to get stoopid and wreck things. Full of slam-dancing, satanic imagery, and the occasional tear-gas attack, hardcore techno parties like H-Bomb, Los Angeles area's Twilight, and Milwaukee's Afternoon Delight look like ass-up inversions of the utopian club-kid credo of P.L.U.R. (Peace, Love, Unity, and Respect). Instead of emitting cool, the linebacker-shaped moshers and candy ravers who inhabit the scene embrace wretchedness in rituals that recall the moshing of straight-edge punk shows, the headbanging at speed-metal concerts, and the gloomy Lugosi boogie of a good Nitzer Ebb gig."}}</ref> In the 2010s, the success of [[Skrillex]] and his "DJ as rock star" attitude brought moshing into mainstream dance music.<ref>{{cite book |last1=Reynaldo |first1=Shawn |title=First Floor Volume 1: Reflections On Electronic Music Culture |date=July 7, 2023 |publisher=Velocity Press |quote=Skrillex's work is on some level rooted in club culture, but it's also been made with arenas and festival stages in mind places where DJs jumping on tables and whipping up massive crowds into a mosh pit-style frenzy is not just encouraged, but expected. Dance music has historically frowned on this kind of blatant "DJ as rock star" behavior—and overwrought grandiosity in general-but following a year in which even the genre's supposedly "underground" corners embraced both star worship and the caning of commercial pop tunes like never before, it makes sense that present-day Skrillex has ascended to towering new heights. EDM may have lit the spark more than a decade ago, but with Skrillex and pals leading the way, it sure feels like dance music as a genre has now entered its ''American Idiot'' phase, becoming larger than ever before despite bearing only a passing resemblance to its former self.}}</ref>

The 2010s saw the rise of a number of hip hop artists who used an "anarchic energy", which some critics at the time compared to that of punk. These artists, notably [[A$AP Mob]], [[Odd Future]] and [[Danny Brown]], revived moshing in mainstream hip hop, which led to pits becoming a staple of performances in the genre.<ref name="Pandya, 2017" /> Amongst this era, [[Travis Scott]]'s performances became particularly notable for their violent combination of moshing and crowd surfing, which he called "raging". Scott was arrested in 2015 and 2017 for inciting riots after encouraging these actions, with the latter event leading to an attendee being partially paralyzed. However, the most infamous example of this at his concerts was the 2021 [[Astroworld Festival crowd crush]], which left 25 hospitalized and 10 dead.<ref>{{cite news |last1=Coscarelli |first1=Joe |title=Before the Astroworld Tragedy, Travis Scott's 'Raging' Made Him a Star |url=https://www.nytimes.com/2021/11/08/arts/music/travis-scott-astroworld-concerts.html |website=[[New York Times]] |date=8 November 2021 |access-date=14 July 2023}}</ref>