Bob Defrin, gets filed in my head as one of those behind-the-curtain operators who quietly shaped what a whole era thought “rock” was supposed to look like. Work at Atlantic Records put him in the blast zone where sleeve art wasn’t decoration, it was stage lighting on paper. Late 1970s into the 1980s, his art-direction fingerprints show up around AC/DC as the logo era locks in (1977’s Let There Be Rock, then the blood-and-thunder run through If You Want Blood You’ve Got It in 1978, Highway to Hell in 1979, Back in Black in 1980, and on into mid-80s titles like Fly on the Wall). Same period energy spills into other big-label moments too, like Foreigner’s 4 in 1981, where the final cover design became the one the world actually remembers. By 1992 he’d gone independent with Bob Defrin Design in Amenia, New York—still doing what the best art directors do: making the music feel inevitable before the needle even drops.