(Roughly) Daily

Billboard for the London Symphony Orchestra’s recording of Tommy

In the late 60s, record companies took to the streets, using billboards to promote record releases. Photographer Robert Landau was there to document the blitz.

“When I went out to explore the world,” says Landau. “I felt the Strip was like a gallery; there were these hand-painted works of art on the street. … They looked like giant art pieces that kind of represented my generation and the music I listened to.”

“At one time, L.A. just felt a lot funkier. It felt more Western, and … people could come here and do whatever they want. To a degree, that created a lot of chaos, but there was something about that freedom that allowed people to do fun things,” he says. “Things were a little quirkier back then. There was a bit more of a personal feel to the environment.”

Read more at Dangerous Minds and at NPR; browse the full collection in his book, Rock ‘n’ Roll Billboards of the Sunset Strip; and see the ful range of his work at his site.

* single from The Who’s 1969 album Tommy.

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As we celebrate synesthesia, we might send birthday hooks to Charles Hardin “Buddy” Holley**; he was born on this date in 1936.  A rock pioneer, Holley saw Elvis perform in 1955, and was inspired to create his own sound– a blend of Rockabilly and R&B– that exploded onto the music scene.  He was among the first to write, produce, and perform his own songs, and established the “two guitar, bass, and drums” template that became standard for rock.

His career lasted only a year and a half, before he was killed in a plane crash.  Still, he was profoundly influential on the future of popular music: an avowed influence on hundreds of acts, including the Beatles, the Rolling Stones, and Bob Dylan; and one of the most covered artists of all time.

** Decca Records misspelled his name “Holly” on his first release, and Holley adopted the “stage spelling” for the rest of his career.

Hear Buddy Holley/Holly on Spotify.

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