In the late seventies, The B-52’s magnetized the pop world’s attention to Athens, Georgia, where a new scene was starting to coalesce. There was no particular Athens sound. The-B-52’s kitschy retro party rock was nothing like Pylons angular avant-funk or Bar-B-Q Killer’s chaotic punk or Vic Chesnutt’s gritty songcraft or R.E.M.’s jangly Nuevo folk rock. But the fact that so much varied creativity was blossoming in a particular location was noteworthy and highly influential. That creativity expanded beyond pop as students and artists attracted to a bohemian oasis in the conservative state invented new ways to express themselves and hang out. They got inventive on the cheap with weird food-oriented art shows or made spectacles of themselves while people watching. Outside artists such as Matthew Sweet were drawn to the Athens to catch some of its magic.