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Carolina's Caribbean Origins: A Review of Hubs of Empire

Review Any historical account requires a framing device—temporal, thematic, or geographical—establishing the scope of enquiry. A Caribbean history typically invokes fairly settled geographical parameters that delimit the area to insular...

Haiti and the Fear of Insurrection: A Review of The Slaveholding Crisis

Review Warning the governor of Kentucky that the white South stood on the brink of destruction in 1860, secession commissioner Stephen F. Hale wrote that Lincoln's election "inaugurates all the...

Toxic Knowledge: A Review of Baptized in PCBs

Review In 2001, lifelong Anniston, Alabama, resident Ruth Mims was called to testify in a lawsuit against the multinational corporation Monsanto. Monsanto had owned and operated a chemical manufacturing facility...

Buffalo Mountain Windfarm, Anderson County, Tennessee, 2005

Janet Powell, Buffalo Mountain Windfarm, Anderson County, Tennessee, 2005. Located north of Oak Ridge and about thirty miles northwest of Knoxville, Buffalo Mountain Windfarm was built in the 2000s as...

The Law and the Mississippi Basin: A Review of Mississippi River Tragedies

Review The present system of flood control in the Mississippi Valley is a compromise resulting from a long and complicated interplay among interest groups. The current solution to the problem...

The Bulletin—May 8, 2013

The Bulletin compiles news from in and around the US South. We hope these posts will provide space for lively discussion and debate regarding issues of importance to those living...

Struggle Against Disease and Discrimination: The Jesse Peel Papers

Southern Spaces is pairing with Emory University's Manuscript, Archives and Rare Books Library (MARBL) to publish short features on MARBL collections, events, and exhibits that tell the history of spaces...

Opening at the Center for Documentary Studies at Duke University

...Experimental and Documentary Arts program. Below is the job announcement for the open director position: The Center for Documentary Studies at Duke University seeks a director with proven leadership skills...

References
1.	Bernard Gendron, Between Montmartre and the Mudd Club: Popular Music and the Avant-garde (Chicago: University of Chicago Press, 2002); Tricia Henry, "Punk and Avant-Garde Art," Journal of Popular Culture 17, no. 4 (Spring 1984): 30. Another, early node of DIY culture in an unlikely place was the scene which formed in Akron and Cleveland, Ohio, two adjacent and then-deindustrializing cities, after the formation of Devo in 1973. See Calvin C. Rydbom, The Akron Sound: The Heyday of the Midwest Punk Capital (Charleston, SC: The History Press, 2018). On the relationship between the Akron scene and Kent State University, see Tim Sommer, "How the Kent State Massacre Helped Give Birth to Punk Rock," Washington Post, May 3, 2018, https://www.washingtonpost.com/outlook/how-the-kent-state-massacre-changed-music/2018/05/03/b45ca462-4cb6-11e8-b725-92c89fe3ca4c_story.html. See also the publication D.I.Y: The Do-It-Yourself New Music Magazine, published in Manhattan Beach, California, in 1980 and 1981. Issues included lists of clubs that would book punk and other kinds of new music, independent record stores, and college radio stations, as well as coverage of scenes in Cleveland, New York, Los Angeles, and a few other cities.
2.	Contrast Coran Capshaw, the manager of Charlottesville's most famous musical group, the Dave Matthews Band, with Bertis Downs, R.E.M.'s lawyer and manager, who still runs the business end of that former band. Capshaw is an entrepreneur who runs multiple companies and a real estate empire in the college town where I live now, while Downs spends most of his time as a local and national advocate for public schools.
3.	"Pylon-1980," online at https://vimeo.com/50389377. See also http://localeastvillage.com/2012/10/15/nightclubbing-pylon/, which described the video as part of Pat Ivers and Emily Armstrong's archive of punk-era concert footage being digitized for the Downtown Collection at N.Y.U.'s Fales Library.
4.	Local East Village, "Pylon-1980."
5.	Van Gosse, "Pylon Draws the Line," Village Voice, February 25, 1981, describes Briscoe Hay in a performance at the Rock Lounge in New York on Valentine's Day 1981 as, "shoeless with whistle, in a parochial-school blue smock and white blouse" (3).
6.	Gosse, "Pylon Draws the Line," 3.
7.	"Review of Gyrate," New Music Express, December 1980; Robert Holland, "After Hours," Red and Black, February 8, 1980, 5; "Interview with Danny Beard," Tasty World 3 [April 1985], 11; Jay Watson, "Local Groups Get Boost from DB Records," Red and Black, January 13, 1982, 1, 5; Briscoe Hay, "Vanessa's Version"; Briscoe Hay, interview; Bourne, interview; Biddle, interview; Rasmussen, interview. Bewley did the cover art for the album and former art student Bourne, then working in Atlanta at Beard's record store, did the art direction and design.
8.	Glenn O'Brien, "Glenn O'Brien's BEAT," Interview, March 1981, 62.
9.	Gosse, "Pylon Draws the Line," 61–62. Gosse's article offered very high praise considering how much good rock and roll came out in 1980, including Springsteen's The River, John Lennon's Double Fantasy, Pete Townshend's Empty Glass, David Bowie's Scary Monsters, Grace Jones' Warm Leatherette, Captain Beefheart's Doc at the Radar Station, The English Beat's I Just Can't Stop It, and Stevie Wonder's Hotter Than July, and albums by more underground acts like the Talking Heads' Remain in Light, Elvis Costello's Get Happy!, X's Los Angeles, The Clash's Sandinista!, and the Dead Kennedys' Fresh Fruit for Rotting Vegetables.
10.	Karen Moline, "Pylon: From Athens, GA: New Sounds of the Old South," New York Rocker, March 1981, 15–17; Vic Varney, "'Nineteen Hours from New York': Small Town Makes Good," New York Rocker, March 1981. For more interesting writing about Pylon, see Robert Palmer, "Critics' Choices," New York Times, April 4, 1982; Guy Trebay, "Survey of the Week's Events: Pylon/dB's," Village Voice, April 20, 1982; "Pylon/'Crazy,'" New York Rocker, June 1982, 43; Steve Anderson, "Pylontechnics," Village Voice, November 9, 1982, 66; Stephen Holden, "Music: Pylon at the Ritz," New York Times, May 31, 1983, C15; Tom Carson, "Pylon Up Around the Bend," Village Voice, June 14, 1983, 84; Kim Taylor Bennett, "We Talked to Pylon's Michael Lachowski Because He's a Legend," Vice, August 14, 2014, https://www.vice.com/en_us/article/6w3vw6/we-talked-to-michael-lachowski-from-pylon-because-hes-a-legend.
11.	Vanessa Briscoe Hay interviews, T. Patton Biddle interview; Jay Watson, "'Athens' Finest' Play Tonight," Red and Black, January 13, 1982, 5; Moline, "Pylon: From Athens, GA"; T. Patton Biddle, better known as Pat the soundman, has the flyer for the Memorial Hall show with Pylon and Love Tractor on his website at https://www.patthewiz.com/.
12.	Cindy Wilson interview; Jon Piccarella, "The B-52s, Mesopotamia (Warner Brothers)," New York Rocker, April 1982, 43; J. Eddy Ellison, "Athens Own B-52s Rock the Fox, Still Have Their 40 Watt Charisma," Red and Black, May 12, 1982, 2. Of course, the B-52s never played the 40 Watt Club.
13.	Briscoe Hay, interviews; Michael Lachowski, interviews.
14.	Poster reproduced as an ad, Red and Black, December 1, 1983, 6; Lachowski, interviews; Briscoe Hay, interviews.
15.	Pylon, Pylon Live (Atlanta, GA: Chunklet Industries, 2016); Stuart Berman, "Pylon: Pylon Live," Pitchfork, July 19, 2016, https://pitchfork.com/reviews/albums/22125-pylon-live/.
16.	J. Eddy Ellison, "A Found Farewell: Fans, Followers and Friends Sadly Try to Accept," Athens Banner Herald-Athens Daily News, December 2, 1983, 10–11; Lachowski, interviews; Briscoe Hay, interviews; David Pierce, "The Tasty World Interview: Michael Lachowski," Tasty World 2, 23, 29.
17.	Mark Cline interviews; Briscoe Hay, interviews; Lachowski, interviews.

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