* The first mass-market cassette recorders didn’t hit shelves until 1964. The medium began to be used regularly for music only around 1970.
* In a funny instance of media and message intertwining, Videodrome is, according to Peter Cigéhn’s “The Top 1319 Sample Sources,” one of the most sampled sources in all of industrial music, with Apoptygma Berzerk, Coptic Rain, Cyberaktif, Emergency Broadcast Network, Front 242, Haujobb, Hyperdex-1 Sect, Implant, Index, Klinik, Meat Beat Manifesto, Psychic TV, Revolting Cocks, and Snog all reappropriating it.12
* P-Orridge here is referring to the questionnaire the band included in their photocopied June 1978 newsletter, the first issue of Industrial News, and the insert into the December 1978 repressing of their debut album for Fetish Records.17
* To be fair, Fluxus-affiliated artists were capable of real transgression, as Chapter 3 noted. Takehisa Kosugi’s “Music for a Revolution” instructs the performer, “Scoop out one of your eyes 5 years from now and do the same with the other eye 5 years later,” and Nam June Paik’s “Danger Music No. 5” tells us to “Creep into the vagina of a living whale.”
* It’s worth noting that although tapes could hold up to sixty minutes per side, once a band cut a seven-inch record, they were all but necessarily making songs whose length, if not their content, was radio-friendly. A quick glance at early industrial recordings shows that track lengths were becoming more standardized and poppish by the early 1980s.