home
Psychosomatics
What is slam at concerts. What is slam, or how to survive in the crowd

What is slam at concerts. What is slam, or how to survive in the crowd

04.03.2019

what is slam?

Slam is cool)))
Slam is a rather violent form of physical contact between people. Participation in a concert rubilov, where other guys and girls are next to you ...
Slam is an indispensable attribute of punk and hardcore subcultures.
Slam. There is a slam familiar to everyone, when everyone huddles around the stage. You can shove your shoulders - it's fun, and such a slam is unlikely to even leave bruises (if everyone jumps like that), move your elbows (at the level of the body), jump, hugging someone by the shoulders, or just fly into the flea market. Yes, there are many ways to do it, the main thing is to respect other slammers !! !
at concerts, everyone shoves each other, pushes, arranges a "mush" of people
In the West, all types of aggressive dances are called mosh pits, moshing. In our country, the most common term is slam, which is a little wrong, but, nevertheless, true.
As such, slam originated in the late 70s at numerous punk concerts. This dance form, which later spread to the metal scene, usually included headbang, pogo, and badi srf (body surfing, crowd surfing).

In the mid-80s, slam became a regular part of thrash metal gigs and parties. In the late 80s, mid-90s, new styles in music appeared: Grunge, Nu-Metal. Since the alternative carried something new, the dances became different. The alternatives made them more aggressive. Gradually begins to appear mosh (mosh) of various kinds of jumping and pushing each other into the crowd.
Moshing can be both good and not so good. There is a mosh, people just bleed (not to be confused with a fight), they take bandages, bandanas and various bandages with them in advance. The guys there are very strong, they are called tough guys. In fact, it should be tough, but at the same time correct and respectful towards others.
Why are people drawn to slams? Pulls everyone into slam different reasons. People want to get the most out of the concert! Someone wakes up in the morning with bruises, someone is completely healthy. A person gets into a slam because he wants to show others that he can do it too (and even better). For many, this is a surge of energy and adrenaline in the blood!
In slam you need to have a lot of stamina. Jumping the whole concert in a slam is a feat! There won't be any energy left. There are several types of slam: rapper, hardcore, punk, metal, industrial, skinny, a very hard type of slam, sometimes with intentional fights. In each subculture, slam breaks down into styles. Since we are all fans of heavy music here, then we will talk about hardcore and metal styles.

But sometimes there are differences. Slam refers to more active actions, which include, for example, waving your arms while mosh slower and more complicated (1999 information). However, in contemporary culture concepts slam And mosh became more distinct. Namely, slam means chaotic actions to push the participants apart. slam, while under mosh- chaotic actions of striking with elbows, less often with fists, and even less often with kicks towards the participants mosha.

Although slam perceived as a positive audience reaction to the music, it is dangerous for the participants. It is believed that the participants do not seek to harm each other and observe the so-called. slam ethics, which includes certain security rules. For example, if a person falls, other participants help him up as soon as possible so that he is not trampled.

Story

The predecessor of slam is considered to be the akuki dance, a type of pogo that originated at punk concerts in the 1970s, transformed into slam at hardcore punk concerts in the 80s. Slam is believed to have originated in Orange County, California, at concerts of the first wave of American hardcore in the early 80s. The crowd cheered to Los Angeles bands like Black Flag and Circle Jerks. Their more rhythmic and heavier variety of punk was later called hardcore.

Kinds

Slam has its separate currents and schools.

Slam

There is a slam familiar to most, in which participants push each other near the stage. It is allowed to push with the shoulders, as it is reasonably safe and does not lead to injury (provided that the other participants follow similar rules), to move the elbows (at the level of the body), to jump, hugging someone by the shoulders, or just gently push the slamming. There are enough variations, the main rule is to respect other slammers.

Stage Diving

Jumping from the stage into the crowd (and not into the slam) with your back or head first. Usually practiced in big clubs. A very common type of slam.

Crowd Surfing

This style is more common in open festivals. in many clubs Crowd Surfing difficult to hold, as they are too small, and there is a possibility of hitting a wall. The method is as follows: a concert participant using closest people rises up, and the crowd carries him in their arms. It is best to do this in a place where there is a higher density of people. Usually this place is closer to the stage.

Skanking

The softest and relatively non-contact type of slam that traditionally takes place at ska-punk concerts. rises left leg, and with it right hand, and vice versa, alternating. Taking its origins in the rhythm of the reggae style, the skunk technique is quite interesting and original, and from the side it resembles running in place or skipping in a circle.

circle pit

Participants begin to run in a circle, forming a kind of "round dance". A slam may take place in the center of the circle. Sometimes the movement can stop, so that on a signal everyone rushes to the center.

high jump

Group high jump. To begin with, several people start jumping to the beat of the music at the same time, the rest pick up and also jump all together synchronously. It is necessary to gradually involve as many people as possible in the action.

Center Slam

Variation of Circle Pit. When a group of slammers leaves the mosh pit empty, one or more people go to the center of the circle (usually before the most difficult moment in the composition) and, on a signal, the slam group runs from all sides to the center on those who are standing there.

wall of death

If one of the nearby participants was knocked down, he should immediately be helped to get up. This is one of the basic rules of ethics in slam.
Before participation, it is customary to remove all items of clothing with traumatic details (everything that has spikes, for example: spiked armlets, bracelets, jackets, etc.).
Respect people, you listen to the same music with them and came to the same concert.
If the bulk of the participants have significantly larger dimensions (several tens of kilograms heavier), you should refrain from an aggressive slam. Also, do not participate in the slam if the participants are significantly taller than you (their elbows are at the level of your face).
For safety reasons, the piercing should be removed. In the process, they can injure others or get caught and lose jewelry, injuring themselves.
Fragile items such as glasses or a phone are also worth laying out.
A slam is not a fight, and one should not seek to harm others, but it is not customary to apologize for accidental blows.
If you are going to perform a hard mosh, you should first move it away or attract the attention of others.
If someone begins to make dangerous movements with their arms and legs (hard mosh), the participants will part, forming a ring of empty space.
Do not raise your elbows above your stomach and try not to put them far from the body, so you protect yourself and do not harm others.
Everyone who moves at a distance of less than one or two meters from the mass is considered to be participating in the slam. People who are not taking part in the slam should stay as far away as possible.
For safety reasons, you should also not smoke while participating in the slam, this can be fraught with burns for both the smoker and other participants.

Attitude towards slam

At some events, the organizers try to ban slam and related activities. Sometimes the guards try to stop the slam (which is extremely difficult on a large scale).

Performers also have different attitudes towards slam. From Russian, Ukrainian and Belarusian performers on their slam concerts provoke DISTEMPER , Noize MC , Jane Air Origami , SLOT , Tracktor Bowling , Louna , Maio , My heart is on the right , Naraka , Max Korzh , Anacondaz , F.P.G. , Lumen , Give it a go! , AMATORY , Purgen (group vocalist Ruslan Gvozdev sometimes advises himself from the stage on how best to slam), Brigade in a row, Az , Stigmata , Korea , ##### , Cockroaches! , Psyche, Leather Deer, $7000, Lomonosov Plan, Lyapis Trubetskoy, Tartak, Northern Fleet, Little Big, Elysium.

Slam in popular culture

Slam is often mentioned in songs, movies, cartoons. In one episode of South Park, Kenny died in a slam. Slam also appears in one of the episodes of the animated series Futurama.

Write a review on the article "Slam"

Notes

An excerpt characterizing Slam

“Yes, it will,” said another.
“What do I care, let him hear!” Well, we are not dogs, - said the former police officer and, looking around, he saw Alpatych.
- Ah, Yakov Alpatych, why are you?
“By order of his excellency, to the governor,” Alpatych replied, proudly raising his head and putting his hand in his bosom, which he always did when he mentioned the prince ... “They were pleased to order to inquire about the state of affairs,” he said.
- Yes, and find out, - the landowner shouted, - they brought that no cart, nothing! .. Here she is, do you hear? he said, pointing to the direction from which the shots were heard.
- They brought that everyone to die ... robbers! he said again, and stepped off the porch.
Alpatych shook his head and went up the stairs. In the waiting room were merchants, women, officials, silently exchanging glances among themselves. The door to the office opened, everyone got up and moved forward. An official ran out of the door, talked something to the merchant, called behind him a fat official with a cross around his neck, and disappeared again through the door, apparently avoiding all the looks and questions addressed to him. Alpatych moved forward and at the next exit of the official, laying his hand on his buttoned frock coat, turned to the official, giving him two letters.
“To Mr. Baron Ash from the general chief prince Bolkonsky,” he announced so solemnly and significantly that the official turned to him and took his letter. A few minutes later the governor received Alpatych and hurriedly said to him:
- Report to the prince and princess that I didn’t know anything: I acted according to higher orders - that’s ...
He gave the paper to Alpatych.
“And yet, since the prince is unwell, my advice is for them to go to Moscow. I'm on my own now. Report ... - But the governor did not finish: a dusty and sweaty officer ran in the door and began to say something in French. Horror appeared on the Governor's face.
“Go,” he said, nodding his head to Alpatych, and began to ask the officer something. Greedy, frightened, helpless looks turned to Alpatych when he left the governor's office. Involuntarily listening now to the close and ever-increasing shots, Alpatych hurried to the inn. The paper given by Governor Alpatych was as follows:
“I assure you that the city of Smolensk does not yet face the slightest danger, and it is unbelievable that it would be threatened by it. I am on one side, and Prince Bagration on the other side, we are going to unite in front of Smolensk, which will take place on the 22nd, and both armies with combined forces will defend their compatriots in the province entrusted to you, until their efforts remove the enemies of the fatherland from them or until they are exterminated in their brave ranks to the last warrior. You see from this that you have the perfect right to reassure the inhabitants of Smolensk, for whoever defends with two such brave troops can be sure of their victory. (Order of Barclay de Tolly to the civil governor of Smolensk, Baron Ash, 1812.)
People moved restlessly through the streets.
Carts loaded on horseback with household utensils, chairs, cabinets kept leaving the gates of the houses and driving through the streets. In the neighboring house of Ferapontov, wagons stood and, saying goodbye, the women howled and sentenced. The mongrel dog, barking, twirled in front of the pawned horses.
Alpatych, with a more hasty step than he usually walked, entered the yard and went straight under the shed to his horses and wagon. The coachman was asleep; he woke him up, ordered him to lay the bed, and went into the passage. In the master's room one could hear a child's cry, the woman's shattering sobs, and Ferapontov's angry, hoarse cry. The cook, like a frightened chicken, fluttered in the passage as soon as Alpatych entered.
- Killed him to death - he beat the mistress! .. So he beat, so dragged! ..
- For what? Alpatych asked.
- I asked to go. It's a woman's business! Take me away, he says, do not destroy me with small children; the people, they say, all left, what, they say, are we? How to start beating. So beat, so dragged!
Alpatych, as it were, nodded his head approvingly at these words and, not wanting to know anything else, went to the opposite door - the master's room, in which his purchases remained.
“You are a villain, a destroyer,” a thin, pale woman with a child in her arms and a handkerchief torn from her head shouted at that moment, bursting out of the door and running down the stairs to the courtyard. Ferapontov went out after her and, seeing Alpatych, straightened his waistcoat and hair, yawned and went into the room after Alpatych.
- Do you want to go? - he asked.
Without answering the question and not looking back at the owner, sorting through his purchases, Alpatych asked how long the owner followed the wait.
- Let's count! Well, did the governor have one? Ferapontov asked. - What was the decision?
Alpatych replied that the governor did not say anything decisively to him.
- Shall we go away on our business? Ferapontov said. - Give me seven rubles for a cart to Dorogobuzh. And I say: there is no cross on them! - he said.
- Selivanov, he pleased on Thursday, sold flour to the army at nine rubles per bag. So, are you going to drink tea? he added. While the horses were being laid, Alpatych and Ferapontov drank tea and talked about the price of bread, about the harvest and the favorable weather for harvesting.
“However, it began to calm down,” Ferapontov said, having drunk three cups of tea and getting up, “ours must have taken it.” They said they won't let me. So, strength ... And a mixture, they said, Matvey Ivanovich Platov drove them into the Marina River, drowned eighteen thousand, or something, in one day.
Alpatych collected his purchases, handed them over to the coachman who entered, and paid off with the owner. At the gate sounded the sound of wheels, hooves and bells of a wagon leaving.
It was already well past noon; half of the street was in shade, the other was brightly lit by the sun. Alpatych looked out the window and went to the door. Suddenly, a strange sound of distant whistling and impact was heard, and after that there was a merging rumble of cannon fire, from which the windows trembled.
Alpatych went out into the street; two people ran down the street to the bridge. WITH different parties whistles, cannonballs and the bursting of grenades falling in the city were heard. But these sounds were almost inaudible and did not pay the attention of the inhabitants in comparison with the sounds of firing heard outside the city. It was a bombardment, which at the fifth hour Napoleon ordered to open the city, from one hundred and thirty guns. At first, the people did not understand the significance of this bombardment.
The sounds of falling grenades and cannonballs aroused at first only curiosity. Ferapontov's wife, who had not stopped howling under the barn before, fell silent and, with the child in her arms, went out to the gate, silently looking at the people and listening to the sounds.
The cook and the shopkeeper came out to the gate. All with cheerful curiosity tried to see the shells flying over their heads. Several people came out from around the corner, talking animatedly.
- That's power! one said. - And the roof and ceiling were so smashed to pieces.
“It blew up the earth like a pig,” said another. - That's so important, that's so cheered up! he said laughing. - Thank you, jumped back, otherwise she would have smeared you.
The people turned to these people. They paused and told how, near by, their cores had got into the house. Meanwhile, other shells, now with a quick, gloomy whistle - nuclei, then with a pleasant whistle - grenades, did not stop flying over the heads of the people; but not a single shell fell close, everything endured. Alpatych got into the wagon. The owner was at the gate.
- What did not see! he shouted at the cook, who, with her sleeves rolled up, in a red skirt, swaying with her bare elbows, went to the corner to listen to what was being said.
“What a miracle,” she said, but, hearing the voice of the owner, she returned, tugging at her tucked-up skirt.
Again, but very close this time, something whistled like a bird flying from top to bottom, a fire flashed in the middle of the street, something shot and covered the street with smoke.
"Villain, why are you doing this?" shouted the host, running up to the cook.
At the same instant, women wailed plaintively from different directions, a child began to cry in fright, and people silently crowded around the cook with pale faces. From this crowd, the groans and sentences of the cook were heard most audibly:
- Oh, oh, my darlings! My doves are white! Don't let die! My doves are white! ..
Five minutes later there was no one left on the street. The cook, with her thigh shattered by a grenade fragment, was carried into the kitchen. Alpatych, his coachman, Ferapontov's wife with children, the janitor were sitting in the basement, listening. The rumble of guns, the whistle of shells, and the pitiful groan of the cook, which prevailed over all sounds, did not stop for a moment. The hostess now rocked and persuaded the child, then in a pitiful whisper asked everyone who entered the basement where her master was, who remained on the street. The shopkeeper, who entered the basement, told her that the owner had gone with the people to the cathedral, where they were raising the miraculous Smolensk icon.

For stand-up concerts musical groups people go not only to listen to their favorite tracks, to see their idols live and to wave a flashlight on their phone in outstretched hand. Many people are attracted to such specific entertainment as slam. During it, people deliberately push and bump into each other - this is how they release energy and get adrenaline.

Of course, the slam does not last the entire concert, which usually lasts 1-1.5 hours. For him, each group has a few special songs that are inserted into different parts speeches.

How did slam come about?

Slam in his modern view preceded by the pogo dance, which originated in the 1970s at concerts by punk bands. It all started with jumping in place, usually with a straight back and limbs pressed to the body. The name of the dance is taken from the pogo stick, or "grasshopper", a device for jumping, consisting of a handle, pedals and a spring.

They say that fast and rhythmic bouncing was invented by Sid Vicious at one of the Sex Pistols concerts. At that moment, he had not yet been invited to the group. At the performance, Sid was far from the stage and started jumping to see the musicians. In the 1980s, pogo was transformed into slam, which began to be practiced at hardcore punk concerts.

Initially, slam was an attribute exclusively of rock music. Today they are actively slammed at the performances of EDM bands and drum and bass raves. Some people try to throw out their emotions and energy in this way even at the concerts of indie pop groups, although it looks rather strange.

Slam etiquette

The cheering crowd pleases most musicians - it shows an extremely positive reaction to the performance. It must be remembered that the slam is dangerous for its participants. He has quite tough tricks and varieties, participation in which is fraught with injury. To minimize the risks, you need to remember and follow certain rules of the slam.

Slam should not be confused with a fight. Its participants do not try to harm each other. At the same time, no one will apologize for accidentally inflicted blows. If you do not want to participate in the slam, then you can simply move to a quieter part of the crowd. Everyone present at the concert at the same time will never slam. This is done only by the most excited fans in the most crowded places - usually near the stage.
Everyone nearby tries to immediately pick up a fallen person. Knocking down a slam participant during a furious dance is not difficult, especially if he is inferior in size or who has not calculated the charge of alcohol. No one will slam next to the lying one. If a person cannot stand up, then they will help him get to the doctors - on organized concerts there is always an ambulance on duty.
Before the slam, all items of clothing that can cause injury are removed. Metalheads will not engage in a contact dance with spiked handcuffs and other dangerous paraphernalia. They are left for other moments, for example, for a subsequent photo session with the musicians or gatherings in a bar. Girls on high heels there is absolutely nothing to do in a slamming crowd. Such shoes are dangerous for them, and for everyone nearby. It is best to wear soft sneakers that will not break someone's toes or metatarsal bones when landing during a particularly successful jump. Clothing should also be practical. It is best to dress in something that you do not mind losing. Things torn and stained with blood after a wild slam are quite common.
Earrings and piercings also need to be removed. In the process, you can not only break or lose jewelry, but also injure yourself and others with them.
Mobile phone, glasses and other fragile items should be left outside the slam area. Losing or breaking them in the process of mass felling to music is worthless.
It is not customary to raise the elbows above the abdomen and place them far from the body. This is for the safety of both you and those around you. The domestic rap hit of 2013 “Everyone dances with their elbows” is only suitable for the situation shown in the video - when there is one person on the stage or there is a sufficiently large distance between moving people.
Do not smoke during the slam so that no one gets burned.
Not everyone can keep their composure at a concert, especially when the moving crowd is flooded with waves of adrenaline. Some at this moment break into a hard mosh - this is the name of an aggressive dance that reaches its peak during breakdowns, that is, in slowed down parts musical compositions. Breakdowns are always present in tracks in the metalcore and deathcore genres. They are needed to contrast with the most intense part of the song.

Before performing a hard mosh, associated with dangerous movements of the arms and legs, you must first warn or move others away. The crowd in such cases creates a ring of free space - a mosh pit. In this circle, only mosh participants converge, performing a variety of punches and kicks. Mosh is contact and non-contact. Only those who voluntarily remained in the mosh pit participate in the contact dance. Those who wish to avoid touching it are not accepted.

Not everyone needs slam, even many musicians do not support it, and concert organizers are trying to ban it. However, it is difficult to stop a large crowd that has decided to slam, so those who wish can always give an outlet for their energy, and the rest can watch it from a safe distance. The main thing is to respect the people with whom you listen to the same music and go to the same events.

(the so-called "Circle Pit"). Words slam And mosh usually used interchangeably, but differences are sometimes distinguished. Slam refers to more active actions, which include, for example, waving your arms while mosh slower and more complicated (1999 information). However, in modern culture, concepts slam And mosh became more distinct. Namely, slam means chaotic actions to push the participants apart. slam, while under mosh- chaotic actions of striking with elbows, less often with fists, and even less often with kicks towards the participants mosha.

Story

Kinds

Slam has its own separate currents and schools.

Slam

There is a slam familiar to most, in which participants push each other near the stage. It is allowed to push with the shoulders, as it is reasonably safe and does not lead to injury (provided that the other participants follow similar rules), move the elbows (at the level of the body), jump while hugging someone by the shoulders, or just gently push the slamming. There are enough variations, the main rule is to respect other slammers.

Stage Diving

Jumping from the stage into the crowd (and not into the slam) with your back or head first. Usually practiced in big clubs. A very common type of slam.

Crowd Surfing

This style is more common at outdoor festivals. Many Crowd Surfing clubs are difficult to run as they are too small and there is a chance of hitting the wall. The method is as follows: the participant of the concert, with the help of the nearest people, rises up, and the crowd carries him in his arms. It is best to do this in a place where there is a higher density of people. Usually this place is closer to the stage.

Skanking

The softest and relatively non-contact type of slam that traditionally takes place at ska-punk concerts. The left leg rises, and with it the right arm, and vice versa, alternating. Taking its origins in the rhythm of the reggae style, the skunk technique is quite interesting and original, and from the side it resembles running in place or skipping in a circle.

circle pit

high jump

Center Slam

Variation of Circle Pit. When a group of slammers leave the mosh pit empty, one or more people go to the center of the circle (usually before the most difficult moment in the composition) and, on a signal, the slam group runs from all sides to the center on those who are standing there.

wall of death

If one of the nearby participants was knocked down, he should immediately be helped to get up. This is one of the basic rules of ethics in slam.
Before participation, it is customary to remove all items of clothing with traumatic details (everything that has spikes, for example: spiked armlets, bracelets, jackets, etc.).
Respect people, you listen to the same music with them and came to the same concert.
If the bulk of the participants have significantly larger dimensions (several tens of kilograms heavier), you should refrain from aggressive slamming. Also, do not participate in the slam if the participants are significantly taller than you (their elbows are at the level of your face).
For safety reasons, the piercing should be removed. In the process, they can injure others or get caught and lose jewelry, injuring themselves.
Fragile items such as glasses or a phone are also worth laying out.
A slam is not a fight, and one should not seek to harm others, but it is not customary to apologize for accidental blows.
If you are going to perform a hard mosh, you should first move it away or attract the attention of others.
If someone begins to make dangerous movements with their arms and legs (hard mosh), the participants will part, forming a ring of empty space.
Do not raise your elbows above your stomach and try not to put them far from the body, so you protect yourself and do not harm others.
Everyone who moves at a distance of less than one or two meters from the mass is considered to be participating in the slam. People who are not taking part in the slam should stay as far away as possible.
For safety reasons, you should also not smoke while participating in the slam, this can be fraught with burns for both the smoker and other participants.

Attitude towards slam

At some events, the organizers try to ban slam and related activities. Sometimes the guards try to stop the slam (which is extremely difficult on a large scale). Performers also have different attitudes towards slam. From Russian, Ukrainian and Belarusian performers at their concerts, slam is approved by DISTEMPER, Jane Air, Origami, SLOT, Tracktor Bowling, Louna, Anacondaz, Noize MC, Little Big, F.P.G. , Lumen , Give it a go! , AMATORY ,

A conscious hustle at a concert, when people bump into each other, trying to hit each other with their shoulders, arms, backs. The one who was thrown by the instigator of the slam flies off and pushes another fan, he pushes back and a chain reaction covers most of those present at the concert. Slam sometimes also includes jumping on the spot, waving arms and other types of unprofessional dances at rock band concerts.

The concept of slam originated in the punk environment, but very quickly spread to other subcultures. Today, not a single concert of a rock band, especially alternative and punk rock performers, is complete without a slam. This active and often traumatic entertainment came to us from the 70s of the twentieth century, when rock concerts spread in the West as a form of youth leisure.

Even before the advent of slam, pogo dances were performed at punk concerts - these were simple bouncing "soldier" - with a straight back and hands pressed to the body. The legs were also kept together. But over time, the people got tired of such a simple and primitive body movement and the jumps were transformed into the “akuki” dance, when the arms and legs were no longer pressed to the body and brought together, but scattered around and lifted up. It's hard to say at which high-density concert the collision first occurred - but with legs and arms flying in the air, jolts in the crowd of fans were unavoidable. And so it began slam.

In the West, everything that we unite with the term slam is called in two words - mosh and actually slam. During the mosh, they do not push, but make individual swings with their fists, elbows, and even legs towards the neighbors, but at the same time they try not to hurt them. During the slam, they hurt just deliberately - to push around. In the Russian-speaking environment, all active actions in the crowd at a concert are called slam, although in the first place they are pushes.

Slam has certain rules. It is usually started by the fans lined up in a circle in front of the stage. It is understandable, because the most zealous and reckless admirers gather closer to the adored stars, who are not averse to a little mischief, having lost their heads from the energy beating from the stage.

Such a slam in a circle is called "circle pit". During the pit, one person is pushed to the center, he, in turn, tries to "knock out" someone else.

Nobody forbids arranging slams at concerts - it is considered a positive reaction to the group's music, but certain safety precautions must still be observed. According to the so-called slam ethics, a person who has fallen to the ground from shocks must be protected and immediately raised so that he is not trampled. Before the slam, it is customary to remove all traumatic items - studded bracelets and collars, leather jackets with metal inserts, and so on. And for your own safety, it is better to take off your glasses, put them away mobile phone and coming to a concert without a piercing, which can do a disservice by catching and tearing the pierced place.

During the slam try not to inflict injuries. Those participating in the crush do not smoke, so that a burning cigarette does not leave a burn on anyone. Guys, whose dimensions are clearly larger than the rest of the participants, push less aggressively and half-heartedly. But, nevertheless, painful blows and injuries during the slam do happen. The most notorious lovers of fun take a bandage and a band-aid with them to the concert - in case when pushes and swings of arms and legs end in a fight or accidental abrasions.

It is quite difficult to get out of the slam: once launched, the wave of shocks does not stop for a long time, spreading throughout the territory. Slam can be physically difficult to endure, so girls usually prefer to stay away from him, leaving slam as a male game. Those who have moved away from the participants in the slam by a couple of meters, it is customary not to hurt them again.

At rock concerts, entertainment related to slam is sometimes arranged. The performers in the heat of the moment jump from the stage into the crowd, which picks up the favorite of the audience and shakes or throws it up in their arms. This is possible only at concerts with a large number of visitors - and, of course, the performer rushes into a circle of slammed fans who are not busy with their work.

You can also often see

crowd surfing - a kind of slam, when a person who has climbed up begins to be passed around the crowd in his arms, as if rolling him.

Such surfing is often arranged for stars who have jumped off the stage or distinguished slam participants who, with the help of friends, were able to climb up.

The slam itself also comes with variations.

The most interesting and dangerous of them is the wall of death. It is initiated by one of the performers, usually the band's frontman. He divides all the fans in half, creating a passage, on both sides of which the participants line up facing each other. On a signal in the form of the beginning of the song, the rockers rush at each other - "wall to wall".

The team that pushes the other further from the middle wins. In this type of slam, serious injuries are often received.
Slam is arranged at most rock concerts, regardless of the direction of music and the venue of the event - from enclosed space club before the outdoor festival.