* The summer 1989 strikes included London Underground and bus workers, dock workers, passport office personnel, and air traffic controllers.

* Reynolds then adds in his blog, “(in that sense, for all its refusal of rock’n’roll as sound, the most rockist form of music ever?).”

* Author Jennifer Shryane posits that industrial music’s eye toward the destruction of social structures makes it more nihilistic than revolutionary: it “did not strive to subvert society but to pervert it.”¹¹ This reduction, however, takes the music’s nihilistic moments at face value, granting neither the potential of this perversion to awaken the individual from society’s collectivism nor the music’s possible function as the processing and purging of waste in clearing the toxic way to some unthinkably distant freedom.

* With the conceptualization in 2003 of the gender-deconstructing Pandrogyne project, Genesis Breyer P-Orridge has been the artist’s preferred name, Breyer being the given last name of Jacqueline “Lady Jaye” Breyer P-Orridge, whom Genesis married in 1993. This book uses the previous name Genesis P-Orridge and a corresponding male pronoun when discussing the artists’s pre-2003 work.

* See the writing of film theorist Rick Altman.

** Lena and Peterson grant that other paths are possible. It’s noteworthy that every genre they study at some point passes through a “scene-based” iteration; this absolutely supports the notion of genre as an organic social construction. As an aside, the use of “avant-garde” here is idiosyncratic to them; an important footnote in Chapter 3 of this book will address the general term in greater depth.