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Of the rock to the hip-hop: everyone in the moshpit

The ‘pit’ in the hip-hop of Brockhampton

There was no escape on the first two days of Pukkelpop: the moshpit. Where it used to be enough to stay away from the front rows at metalconcerten, is now also in hip-hop and dance numbed that it is a dear delight.

The audience in the tent split like the Red Sea. In the mensentrossen on the edge prevails nervous tension. In the large open plain in front of the stage stands one man, who was wearing on the chest to knock …

The audience in the tent split like the Red Sea. In the mensentrossen on the edge prevails nervous tension. In the large open plain in front of the stage stands one man, who was wearing his breast to beat. When the band hit by storms two groups of festival-goers on each other. There is mashed, pushed, pulled and jumped, until one sweaty vleeshoop arises. Who out jumps, launching himself right back in it endures.

Call to violence

Such moshpits were long the exclusive domain of the hardcore, and other heavy gitaargenres. But since a number of years, also the dance – just ask Netsky or Dimitri Vegas & Like Mike and hip-hop with the phenomenon to go. On the Dutch rapfestival Woo Hah we saw this summer almost as much pogo as a month earlier at Graspop – hitparaderappers as Migos questions with equal aplomb to the ‘pit’ to open it as hardcore acts such as Parkway Drive.

This was also at Pukkelpop brands: Thursday cried metallers Diablo BLVD and Fleddy Melculy incessant violence, while in two tents, The Youth of Today and Pregnant Guy the same requirements. “I think hip-hop just about everything has already been taken of guests with a guitar, so this may also well’, jokes Diablo frontman Alex Agnew. ‘In the end hip hop is based on a samplecultuur: I think it’s cool that it’s so obvious.’

Third World War

Now keep Agnew out of the area of circle pits and slamdancen because of ‘too old’. “But when I was younger was: the worse you out of the pit, the cooler. You had battle scars as proof of a good performance: I once had an imprint of a combat boot on my chest.” Also Pregnant Guy can knows. “A year ago, I am at Work during Suicideboys (which is also at Pukkelpop, eds.) go meevlammen. I got a shoe loose, and have my back hurt the next day, I was under heavy painkillers occur.’

It ain’t a mosh pit if ain’t no injuries’, rapping with Travis Scott about it. The new prince of the rapscene, that last minute default of appearance had made for his planned Pukkelpopshow of Friday, is a fierce promoter of hiphoppogo. In 2017, he was even arrested for ‘incitement to riot’ – while his question to the security it is very difficult to not mean all that much different from what Diablo BLVD Wednesday in the Castello asked.

For bystanders, it looks maybe like the Third world War’, be aware of Agnew. “But in the pit prevails brotherhood and etiquette. You may be aggression and frustration lost, but if someone falls, you pull that right. I feel that positive vibe out there hip-hop in there.” Pregnant Guy confirms. “There is respect in the pogo’s: that we have inherited from the heavy metal and punk. We must not forget where that is.’

Less muscular

Pregnant Guy can compare: he went regularly to punkshows in the Brussels undergroundzaal Recyclart. “There was more symbolism out of the pogo. It was fighting against the system. In hip hop it seems to me rather to belong to the intensity of the experience. Maybe there is less meaning behind it.”

Or maybe not. Acts like Beastie Boys or Cypress Hill, who play with rockelementen, have all of pogo’s since the 80’s. But now it seems a moshpit is a necessary condition for certain hiphopgenres. The Dutch rapper Yung Nnelg asked a half-empty, tiny Elevator is already at the second number to a pogo. In the cheerful Brockhampton fell they are almost impossible to count. It coincides with a time when more rappers positive about the rock-credentials: Post Malone scored one of the hits of 2018 with a number on which he, on all levels, that reflects a ‘Rockstar’. And in the SoundCloud-rap, with figureheads such as XXXTentacion, conceals an aggressiveness and nihilism reminiscent of the early hardcorescene.

And yet there are differences: the aggressive molenwieken from the hardcore is less in rapshows, like walls of death: hiphoppits are especially pogo’s, in which people are leaping at each other to throw. The pits also tend to be younger, less heavily muscled, and slightly more feminine – although this can also just be said about the general public of both genres. The pogo-ers also seem to be more on the beat you can jump – but in all pits smell just hard to sweat.

Agnew is going to miss them, the moshpits: on december 10, hangs his band in the AB final of the guitars to the willows. “If I have to make a pit question is that for the audience, but also for myself: I love that sense of control. Thousands of people to do what you want, that is an indescribable feeling.” Also Pregnant Guy gets a kick out of. ‘The men listening barely to the music, as fast as they are in their element. At that time, I am not the most important, but we are all one. That is so beautiful.’

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