The Toxic Waltz (song)

"The Toxic Waltz" is a song by the American thrash metal band Exodus, taken from their third studio album Fabulous Disaster. Despite never being released as an official single, it is one of Exodus' most famous songs and has held a regular position on their concert setlist since 1989.

Writing and inspiration

The song's lyrics describe "the action in a violent mosh pit: blood on the floor, shots to the head, and general chaos." Frontman Steve "Zetro" Souza said in a 2014 interview with Songfacts.com that "The Toxic Waltz" was written after guitarist Gary Holt came to band practice, and asked him to write a song about "what fans do at [their] gigs." Souza commented:

So I wrote the lyrics as a parody and I wrote it as a joke. I didn't even think that we were going to use it. If you read the lyrics, they're kind of silly. I'm thinking, you know, here we are, this totally hard thrash band, we kick in your face and rape and murder your wife, and now here we're writing a parody of a '60s or '50s dance number.

New England Championship Wrestling

New England Championship Wrestling (NECW) is an independent professional wrestling promotion based in the Northeastern United States and has promoted events since 2000. It is currently owned and operated by promoter Sheldon Goldberg and is one of the top independent wrestling promotions in the New England- area.

Its roster has, at one point, included independent wrestlers Antonio "The Promise" Thomas, Slyk Wagner Brown and Rick Fuller as well its women's division World Women's Wrestling which includes some of the most prominent female wrestlers in the country such as Ariel, Sumie Sakai, Alere Little Feather, Riptide, Nikki Roxx, Lexxus, April Hunter, Malia Hosaka and Mercedes Martinez.

World Wrestling Entertainment wrestlers Kofi Kingston, John Cena, Kenny Dykstra, Sasha Banks, and "Hurricane" John Walters also competed in the promotion during their early careers. Former WWE announcer Kevin Kelly was also involved at one time as a booker for the promotion.

Toxicity

Toxicity is the degree to which a substance can damage an organism. Toxicity can refer to the effect on a whole organism, such as an animal, bacterium, or plant, as well as the effect on a substructure of the organism, such as a cell (cytotoxicity) or an organ such as the liver (hepatotoxicity). By extension, the word may be metaphorically used to describe toxic effects on larger and more complex groups, such as the family unit or society at large.

A central concept of toxicology is that effects are dose-dependent; even water can lead to water intoxication when taken in too high a dose, whereas for even a very toxic substance such as snake venom there is a dose below which there is no detectable toxic effect. Toxicity is species-specific, making cross-species analysis problematic. Newer paradigms and metrics are evolving to bypass animal testing, while maintaining the concept of toxicity endpoints.

Types of toxicity

There are generally three types of toxic entities; chemical, biological, and physical:

Waltz

The waltz (from German: "Walzer") is a smooth, progressive ballroom and folk dance, normally in  triple  time, performed primarily in closed position.

Introduction and acceptance

There are several references to a sliding or gliding dance—a waltz—from the 16th century, including the representations of the printer H.S. Beheim. The French philosopher Montaigne wrote of a dance he saw in 1580 in Augsburg, where the dancers held each other so closely that their faces touched. Kunz Haas (of approximately the same period) wrote, "Now they are dancing the godless Weller or Spinner." "The vigorous peasant dancer, following an instinctive knowledge of the weight of fall, utilizes his surplus energy to press all his strength into the proper beat of the measure, thus intensifying his personal enjoyment in dancing".

The peasants of Bavaria, Tyrol, and Styria began dancing a dance called Walzer, a dance for couples, around 1750. The Ländler, also known as the Schleifer, a country dance in 3
4 time, was popular in Bohemia, Austria, and Bavaria, and spread from the countryside to the suburbs of the city. While the eighteenth century upper classes continued to dance the minuet, bored noblemen slipped away to the balls of their servants.