February 3, 1959 is for many rock and roll fans a day of infamy. Don McLean, in his 1971 recording "American Pie," referred to it as "the day the music died." On that day Buddy Holly, a twenty-three-year-old rock star, was killed in the crash of a chartered single-engine airplane. Two other rock stars, Ritchie Valens and J.P. Richardson (The Big Bopper), also died in the crash. But of the three, Holly's death had the greatest impact on the music world.

Between 1957 and 1959, Buddy Holly achieved artistic and commercial success as both a solo artist and lead singer for the Crickets. Holly's distinct vocal style, sometimes referred to as Rockabilly, blended Country and Western music with Rhythm and Blues. Songs like "That'll Be the Day," "Peggy Sue," "Maybe Baby," "Listen to Me," "Rave On," "Oh Boy" and "Heartbeat" established Buddy as one of the greatest stars of early rock 'n' roll.

Today, nearly twenty years later, Holly's aura shines brighter than ever in the galaxy of rock stars. Buddy Holly and his music live on in the minds and hearts of rock music fans. There is no doubt that Buddy Holly has achieved cult status. There are, however, several questions surrounding Holly's undying popularity. Of all the rock stars that have died, why has Buddy Holly been one of the few to achieve lasting success in the rock'n'roll world? Why was he not forgotten by most fans as were Eddie Cochran, Ritchie Valens, The Big Bopper, Johnny Horton, Johnny Burnette, and a host of others? Why did the legend about Holly develop? How did it grow? And why is Holly still so popular today? Answers to these questions will not only explain the Buddy Holly phenomenon, but they will also tell us something about the American character.

Even before Holly was buried, the legend began to grow. News of the plane crash spawned hundreds of record hops nation-wide that served as rock'n'roll memorials for Holly and the other fallen rock idols.

An ironic twist of fate brought forth one performer who was to contribute greatly to the growth of the Holly myth. When Holly's plane took off in bad weather at 1:50 A.M. from Mason City, Iowa, it was bound for Fargo, North Dakota, where Holly and his fellow musicians had a scheduled concert. When the tragic news arrived instead of the plane, a decision was made to go ahead with the rock show as a tribute to Holly and the others. Radio stations in Fargo sent out emotional pleas for local talent to replace the dead stars on the bill. An unknown singer, Robert Velline, sang several Holly tunes and sounded incredibly like Holly himself. Shortly thereafter Liberty Records signed Velline to a contract and began recording him under the name Bobby Vee.

Bobby Vee's early records captured the sound and spirit of Holly's music. Norman Petty, who recorded and produced most of Holly's hits, declared on the liner notes of Vee's first album that Bobby Vee's style and approach to music compared favorably to Holly's. The Crickets, Holly's original group, gave additional testimony to the similarity between Vee and Holly. Later the Crickets recorded an album with Vee and even toured England with him. Vee was thus given the stamp of approval by those who knew Holly best. The teenager from Fargo recorded several Holly songs for his first few albums, and eventually Vee released an entire album of Holly songs. Entitled I Remember Buddy Holly, it included a tribute to Holly, "Buddy's Song," that listed Holly's mother as its composer. The records put out by Vee helped keep Holly's name and music alive during the early 1960s. To this day, Vee includes a medley of Holly songs in his live performances.

Other types of records helped enshrine Buddy Holly. "Three Stars" was the first memorial song to appear, only weeks after Holly's death. There were actually two versions of the record—one by Buddy's close friend Eddie Cochran and the other by Tommy Dee. Both were maudlin and overly religious. Similar songs were released in England, with Mike Berry's "A Tribute to Buddy Holly" achieving the most popularity.

Throughout the early 1960s, the success of Holly imitators kept Holly's name before the public eye. In 1962, Tommy Roe achieved a million-seller with "Sheila," a record that sounded remarkably close to Holly's "Peggy Sue." Roe admitted that it was no accident that his music was reminiscent of Holly's Rockabilly sound, since Buddy was his idol and he was trying to copy Holly's vocal style. The Surfaris also used the Holly sound successfully in their 1963 hit record, "Surfer Joe." Not to be outdone by this new generation of Holly imitators, Holly's old associates clung to Buddy's Rockabilly sound in hopes of continued success. Norman Petty produced an album, The Buddy Holly Songbook, by one-time Cricket Tommy Allsup. Petty also produced and recorded another Holly sound-alike hit, Jimmy Gilmer's "Sugar Shack." Petty later produced a Gilmer album entitled Buddy's Buddy, which contained Gilmer's versions of Holly songs. The album's cover included a portrait of Jimmy Gilmer right next to one of Buddy Holly. The Crickets also retained their ties to Holly. Their records of the early 1960s, such as "Love's Made a Fool of You," "Teardrops Fall Like Rain" and "My Little Girl" remained true to the Holly sound.

Holly's music was kept alive in yet another way. During the 1960s, Norman Petty released several "new" Buddy Holly albums. In fact, more Holly albums were issued after Buddy's death than before. The first to appear was The Buddy Holly Story, which was a collection of Buddy's greatest hits. The liner notes provided the listener with a biography of Holly's successful rise and tragic end. Petty followed with The Buddy Holly Story, Volume II. Once again some of Holly's best known songs were included, but this time the liner notes were in the form of a touching message from his widowed bride, Maria Elena Holly. Throughout the rest of the 1960s, other albums were released with titles such as The Great Buddy Holly, Giant Buddy Holly and Buddy Holly Showcase that contributed to the image of Holly's greatness. Many of the posthumous releases were recorded by Buddy between 1956 and 1959. Holly tape-recorded some of the songs in his apartment and never meant them to be heard in public. But Norman Petty took the rough tapes, overdubbed them in the studio with various musicians including Jimmy Gilmer and released them as "new" Holly records. Despite their poor quality the albums sold well, since the growing numbers of Buddy Holly fans were eager for any type of previously unreleased Holly material. Most Buddy Holly purists, however, were dissatisfied with Petty's efforts. In many cases the posthumous releases were improperly mixed and Holly's voice and guitar playing were sometimes obscured by the louder playing of Petty's studio musicians. Today the original tapes are available on a British import, The Complete Buddy Holly.

The Holly legend grew even larger during the mid and late 1960s, as many superstars, who were products of the British Rock Invasion paid homage to the dead star. The Beatles, who guided the musical tastes of many rock fans if not the entire direction of rock music during these years, publicly announced that some of their musical roots could be traced to Buddy Holly. The Beatles even recorded an almost identical cover version of Holly's "Words of Love." Other English groups likewise recorded Holly songs. The Rolling Stones had a hit with "Not Fade Away." Peter and Gordon sold a million copies of "True Love Ways." The Hullabaloos recorded "I'm Gonna Love You Too" and other songs imitating the Holly sound. And Blind Faith included "Well All Right" on their million-selling album in 1969.

Some British rock stars carried their tribute to Holly even farther. The lead singer of Freddie and the Dreamers donned black hornrimmed glasses in an effort to look like the American star. Another group adopted Buddy's surname and as the Hollies achieved great success both in England and America.

Not to be outdone, American artists also imitated the Holly sound. In 1964 J. Frank Wilson had two hits, "Last Kiss" and "Speak to Me Baby," that copied Holly's rockabilly style. Wilson's promoters were quick to point out that not only did J. Frank sound like Buddy Holly, but he also came from Texas, as Buddy did. To further the comparison, Wilson included a version of Holly's "That'll Be the Day" on his first album. Skeeter Davis was another American singer who recorded Holly's material. In the mid-sixties, she released an entire album of Holly songs and even included a photograph of Buddy's parents on the album cover. Meanwhile, the Crickets continued to release records that reinforced their association with Buddy Holly. For example, in 1963, they issued Rockin' 50s Rock And Roll, an album that included no less than ten re-recorded Holly tunes.

By the 1970s, Holly had his permanent niche in rock music history. Yet the legend was still growing. Holly's importance to rock music was given a significant boost in 1971 when Don McLean released "American Pie." It was dedicated to Buddy Holly and maintained that American rock 'n' roll ended on the day Holly died in 1959. The song became one of the year's biggest sellers, and in the process it etched in the minds of rock 'n' roll fans the image of Buddy Holly as one of the most creative forces in rock's music history.

If American rock 'n' roll had died, Holly's music had not. In the mid seventies, ex-Beatle John Lennon released his version of "Peggy Sue." Another ex-Beatle, Paul McCartney, demonstrated his interest in Holly by purchasing the entire catalog of Holly songs. McCartney later helped a member of his new group, Wings, record an album of Holly songs. American artists were also busy singing Holly's songs during the 1970s. Don McLean received some air play with his version of "Everyday." Susan Allanson scored big with "Maybe Baby." And superstar Linda Ronstadt had three successive hit singles with "I Guess It Doesn't Matter Anymore," "That'll Be the Day" and "It's So Easy."

Holly's image was further enhanced with the release of other records during the 1970s. Record companies repackaged and reissued numerous collections of Holly's greatest hits. And Waylon Jennings, the outlaw of Progressive Country music and one-time bass player with Holly's back-up band, released a song-tribute to Holly called "Old Friend."

The 1970s also saw Holly become the focus for rock critics and historians. For example, several books were published that studied Holly's life and music. Two of the most informative are Dave Laing's Buddy Holly and John Goldrosen's Buddy Holly: His Life and Music.

The metamorphosis of Holly from Texas Country and rock singer to American legend was completed in 1978 with the release of a full-length motion picture, The Buddy Holly Story. The movie features Gary Busey in the title role and depicts Holly as the benevolent pied piper of early rock 'n' roll who met a tragic death. The movie received excellent reviews and played to large audiences across the U.S. With the artistic and commercial success of the movie, the circle was completed. The legend began with a greatest hits album called The Buddy Holly Story, and it was completed with a motion picture of the same name. Within twenty years, Holly had become a full-fledged American legend.

Current rock stars continue to pay homage to Buddy Holly. Rick Nelson recently released his version of Holly's "Rave-On," while Bruce Springsteen often listens to Holly tapes prior to going out on stage, where he sometimes includes a powerful version of "Rave-on." New Wave rockers have also tapped the Holly image and sound. For example, the Holly influence is obvious in Elvis Costello's appearance or Dave Edmund's singing on "Queen of Hearts." Without a doubt, the Holly legend lives on in the 1980s.

Why was Holly able to achieve his legendary status? Why didn't he fade into oblivion as numerous rock stars before and after him had done? The timing of Holly's death undoubtedly had much to do with his posthumous success. Like the subject of A. E. Housman's poem "To An Athlete Dying Young," Holly died at the peak of a promising career. Afterward, rock fans were forced to look at his music differently. His recordings took on a new, dramatic aspect. No longer were they the brilliant beginnings of a musical career. The recordings now represented the total of Holly's music. His creativity and career had come to a final close. As is often the case, individuals were prepared to bestow accolades and fame on the dead artist. Many recognized his achievements. Others thought wistfully about what might have been. Fate never gave Holly the chance to fail at his art. He died a success and therefore would be remembered as such. In this way the martyred rock star joined the roster of artists whose art became even greater in death.

Obviously the quality of Holly's music also contributed to his lasting success. At his best Holly was both a craftsman and innovator within the realm of rock 'n' roll music. Holly's ability to play basic, simple, tight rock 'n' roll was the cornerstone of his career. His recordings of "That'll Be the Day," "Oh Boy," "Maybe Baby" and "Peggy Sue" are considered to be the definitive versions of the songs and are true rock 'n' roll classics. But Holly was also an experimenter. His recordings of "Words of Love" and "Listen to Me" show that he was far ahead of his time in the areas of studio production work and composition of more sophisticated types of rock music. Holly's greatness is underscored by the fact that his music still appeals to contemporary rock fans. As Waylon Jennings pointed out in his 1975 recording "Old Friends," rock music despite all the changes in the last twenty years keeps coming back to Holly as a source of basic rock 'n' roll.

Apart from his music Holly himself had distinctive characteristics. His vocal style, particularly the use of tone changes, voice inflection and the carrying of a syllable over several beats to form a hiccuping effect, gave Holly an identifiable sound that was copied by many singers after his death. His appearance—a tall, thin, pleasant-looking young man wearing thick, black glasses—contributed to his distinguishable image. No other rock star looked like Holly, therefore his exit from the rock stage was clearly noticeable.

Holly's appearance might have contributed to his lasting success in other ways. He was not the matinee-idol type. He didn't have the good looks of an Elvis or Fabian. He looked like an average American male. He came from a middle-class background. He wasn't handsome. And he didn't have a powerful voice. He was just like millions of American youths who wanted to be rock stars. As a result, everyone could identify with his rise to the top—and his tragic end. Furthermore, Holly was never the number one rock star in America. He was always in the second tier behind superstars like Elvis Presley and Ricky Nelson. He lacked their glitter, sex appeal and charisma. He was an underdog in a country that has always had a special place in its heart for underdogs.

Holly's lasting fame was furthered by the condition of rock 'n' roll during the early 1960s. Holly's death in 1959 removed from rock 'n' roll one of the last performers with solid, artistic credentials. By the early 1960s Elvis and Ricky were switching to middle-of-the-road music. Little Richard had retired to become a preacher. Chuck Berry was in jail and not recording. And Jerry Lee Lewis was blacklisted for marrying a thirteen-year-old girl who was his distant cousin. Most of the remaining stars were baby-faced idols like Frankie Avalon, Bobby Rydell and Johnny Tillotson. This new breed of smiling, sweatered, teen stars recorded schmaltzy songs written and produced by adults who knew little about real rock 'n' roll. By comparison Holly's reputation as a writer and performer grew even larger. This void in rock music that occurred after Holly's death solidified his position as one of the Founding Fathers and creative forces in rock 'n' roll.

The fact that Holly died a dramatic death undoubtedly contributed to the legend that developed around him. He died at a relatively young age, twenty-three, just after making it big in the music industry. Strange occurrences surrounded his death. Holly was scheduled to take a bus to Fargo, North Dakota, but at the last moment changed his plans and chartered the private plane instead. His wife had previously asked him not to fly, because she feared for his safety. Two of the rock stars killed with Holly, Ritchie Valens and J. P. Richardson, were not even supposed to be on the plane. Holly had intended to take along his backup musicians (one of whom was Waylon Jennings), but just prior to take-off, Valens and Richardson took their place. Holly's death had a further note of tragedy. Just seven months before, Holly had married an attractive young girl named Maria Elena. At the time of his death, Buddy's wife was pregnant. Shortly thereafter she suffered a miscarriage. One final irony accompanied the rock star's death. His last hit record, which was on the charts at the time of the plane crash, was entitled "It Doesn't Matter Anymore."

Admittedly, Holly's legendary status didn't just happen. The road to everlasting stardom was paved by careful planners who kept Holly's name alive through posthumous releases of Holly records, tributes, imitators, books and motion pictures. But the planners could not have been successful had there not been an audience eager for Holly material. No doubt the marketing aided the development of the Holly legend, but even without the planners, Holly probably would have achieved his legendary status anyway.

The undying popularity of Buddy Holly tells us something about the American character. It shows that the American people value excellence and creativity. At the same time, it illustrates Americans' continuing infatuation with the Horatio Algers, the dramatic and tragic figures, the underdogs and the heroes of the world. Buddy Holly represents each of these figures. If one had to select one Holly song that summed up his career, it would not be "It Doesn't Matter Anymore." On the contrary, it would be "Not Fade Away."