Книга: Ben Marshall, Pete Townshend, Roger Daltrey «The Who: The Official History»

Ben Marshall

Ben Marshall
Spielerinformationen
Geburtstag	29. März 1991
Geburtsort	Salford, England
Größe	185 cm
Position	Sturm
Vereine in der Jugend
2005–2008	Crewe Alexandra
Vereine als Aktiver
Jahre	Verein	Spiele (Tore)1
2009– 2009 2009 2010 2010–2011 2011–	Stoke City → Northampton Town (Leihe) → Cheltenham Town (Leihe) → Carlisle United (Leihe) → Carlisle United (Leihe) → Sheffield Wednesday (Leihe)	0 (0) 15 (2) 6 (2) 20 (3) 33 (3) 5 (1)
1 Angegeben sind nur Liga-Spiele. Stand: 15. September 2011

Ben Marshall (* 29. März 1991 in Salford) ist ein englischer Fußballspieler, der seit 2009 bei Stoke City unter Vertrag steht. Aktuell spielt er auf Leihbasis für Sheffield Wednesday.

Karriere

Der Stürmer unterzeichnete am 8. Juli 2009 einen Profivertrag beim Lokalrivalen von Crewe Alexandra, bei dem er sämtliche Jugendmannschaften durchlaufen hatte.^[1]. Da Marshall bei Crewe keinen Profivertrag besaß, gab es um die Ablösesumme für Marshall sowie den gleichzeitig gewechselten Matt Lund einen Konflikt zwischen beiden Klubs. Ein Schiedsgericht bestimmte im Mai 2010, dass Stoke für Marshall 30.000 GBP an Crewe zu zahlen habe.^[2]

Nach einer guten Vorbereitung wurde am 7. August 2009 bekannt, dass Marshall für erstmals drei Monate an Northampton Town verliehen werden soll, um so erste Erfahrungen zu sammeln^[3]. Danach spielte er ebenfalls leihweise für Cheltenham Town und Carlisle United, war jedoch in der Vorbereitung auf die Saison 2010/11 wieder Bestandteil des Stoke-Kaders.^[4]

Weblinks

• Profil über Ben Marshall auf der Homepage von Stoke City
• Einsatzstatistiken bei soccerbase.com
• Ben Marshall in der Datenbank von Weltfussball.de

Einzelnachweise

1. ↑ Stoke City sign Ben Marshall
2. ↑ Crewe Alex: Gradi pleased with tribunal decision over former Academy graduate Matt Lund, Crew Chronicle vom 5. Mai 2010, gesichtet am 20. August 2010
3. ↑ Marshall is the man for Gray
4. ↑ vgl. Aufstellung des Freundschaftsspiels bei den Bristol Rovers

Источник: Ben Marshall

Pete Townshend

Infobox musical artist
Name = Pete Townshend

Peter Dennis Blandford Townshend (born 19 May 1945 in Chiswick, London), is an English rock guitarist, singer, songwriter, composer, and writer, known principally as the guitarist and songwriter for The Who, as well as for his own solo career. His career with The Who spans more than forty years, during which time the band grew to be considered one of the most influential bands of the rock era, in addition to being "possibly the greatest live band ever." [ [http://www.rollingstone.com/news/story/5939229/29_the_who/ "Rolling Stone" Magazine] [http://www.vodafonemusic.co.uk/index.cfm?action=tba_event/awards2006/12b_tba_news First Annual Lifetime Achievement Award in Live Music] ]

Townshend is the primary songwriter for the Who, writing well over one hundred songs for the band's eleven studio albums, including the rock operas "Tommy" and "Quadrophenia" and the well-regarded rock radio staple "Who's Next", plus dozens more that appeared as non-album singles, bonus tracks on reissues, and tracks on rarities compilations such as "Odds and Sods". He has also written over one hundred songs for his solo albums and rarities compilations. Although known mainly for being a guitarist, he is also an accomplished singer and keyboard player, and has played many other instruments on his solo albums, and on some Who albums (such as banjo, accordion, synthesizer, piano, bass guitar, drums). He is rated as the 50th greatest Guitarist of all time by Rolling Stone.

He has also written newspaper and magazine articles, book reviews, essays, books, and scripts.

Early life

Born into a musical family (his father Cliff Townshend was a professional saxophonist in The Squadronaires and his mother Betty a singer), Townshend exhibited a fascination with music at an early age. He had early exposure to American rock and roll (his mother recounts that he repeatedly saw the 1956 film "Rock Around the Clock") and obtained his first guitar from his grandmother at age 12, which he described as a "Cheap Spanish thing". Townshend's biggest guitar influences include Link Wray, John Lee Hooker, Bo Diddley and Hank Marvin of The Shadows.

In 1961 Townshend enrolled at Ealing Art College, and a year later he and his school friend from Acton County Grammar School John Entwistle founded their first band, The Confederates, a Dixieland duet featuring Townshend on banjo and Entwistle on horn. From this beginning they moved on to The Detours, a skiffle/rock and roll band fronted by then sheet-metal welder Roger Daltrey. In early 1964, due to another band having the same name, The Detours renamed themselves The Who. Drummer Doug Sandom was replaced by Keith Moon not long afterwards. The band (now comprising Daltrey on vocals and harmonica, Townshend on guitar, Entwistle on bass, and Moon on drums) were soon taken on by a mod publicist (named Peter Meaden) who convinced them to change their name to The High Numbers to give the band more of a mod feel. After bringing out one single ("Zoot Suit"), they dropped Meaden and were signed on by two new managers, Chris Stamp and Kit Lambert. They dropped The High Numbers name and reverted to The Who.

Music career

Breakthrough

After The High Numbers once again became The Who, Townshend wrote several successful singles for the band, including "I Can't Explain", "Pictures of Lily", "Substitute", and "My Generation". Townshend became known for his eccentric stage style during the band's early days, often interrupting concerts with lengthy introductions of songs, swinging his right arm against the guitar strings in his signature windmill style, often smashing guitars on stage, and often repeatedly throwing his guitars into his amplifiers and speaker cabinets. The first incident of guitar-smashing was brought about because Townshend accidentally broke the neck of his guitar on the low roof of an early concert venue in Harrow. After smashing the instrument to pieces, he carried on by grabbing another guitar and acting as if the broken guitar had been part of the act. The on-stage destruction of instruments soon became a regular part of The Who's performances that was further dramatized with pyrotechnics. At a concert in Germany, a police officer walked up to him, pointed his gun at him, and ordered Townshend to stop smashing the guitar. Townshend, always a voluble interview subject, would later relate these antics to German/British artist Gustav Metzger's theories on Auto-destructive art, to which he had been exposed at art school.

The Who thrived, and continue to thrive, despite the deaths of two of the original members. They are regarded by many rock critics as one of the best [ [http://www.rockhall.com/hof/inductee.asp?id=210 Rock and Roll Hall of Fame] ] [ [http://concise.britannica.com/ebc/article-9100454/the-Who Encyclopedia Britannica] ] live bands [ [http://www.rollingstone.com/news/story/5939229/29_the_who/ "Rolling Stone" Magazine] ] [ [http://www.vodafonemusic.co.uk/index.cfm?action=tba_event/awards2006/12b_tba_news First Annual Lifetime Achievement Award in Live Music] ] from a period of time that stretched from the late 1960s to the early 1980s, the result of a unique combination of high volume, showmanship, a wide variety of rock beats, and a high-energy sound that alternated between tight and free-form. The Who continue to perform critically acclaimed sets in the 21st century, including a highly regarded performance at the Live 8 music festival in July 2005.

Townshend remained the primary songwriter and leader of the group, writing over one hundred songs which appeared on the band's eleven studio albums. Among his most well-known accomplishments are the creation of "Tommy", for which the term "rock opera" was coined, and a second pioneering rock opera, "Quadrophenia"; his wild, guitar-smashing stage persona – which has become virtually "de rigueur" in the majority of rock acts since the 1970s; his use of guitar feedback as sonic technique; and the introduction of the synthesizer as a rock instrument. Townshend revisited album-length storytelling throughout his career and remains the musician most associated with the rock opera form. Townshend also demonstrated prodigious talent on the guitar and was influential as a player, developing a unique style which combined aspects of rhythm and lead guitar and a characteristic mix of abandon and subtlety. Many tracks also feature Townshend on piano or keyboards, though keyboard-heavy tracks usually featured guest artists such as Nicky Hopkins, John Bundrick or Chris Stainton.

olo career

In addition to his work with The Who, Townshend has been sporadically active as a solo recording artist. Between 1969 and 1971 Townshend, along with other devotees to Meher Baba, recorded a trio of albums devoted to the yogi's teachings: "Happy Birthday", "I Am", and "With Love". In response to bootlegging of these, he compiled his personal highlights (and "Evolution", a collaboration with Ronnie Lane), and released his first major-label solo title, 1972's "Who Came First". It was a moderate success and featured demos of Who songs as well as a showcase of his acoustic guitar talents. He collaborated with The Faces' bassist and fellow Meher Baba devotee Ronnie Lane on a duet album (1977's "Rough Mix"). Townshend's solo breakthrough, following the death of Who drummer Keith Moon, was the 1980 release "Empty Glass", which included a top-10 single, "Let My Love Open the Door". This release was followed in 1982 by "All the Best Cowboys Have Chinese Eyes", which included the popular radio track "Slit Skirts". Through the rest of the 1980s and early 1990s Townshend would again experiment with the rock opera and related formats, releasing several story-based albums including ' (1985), ' (1989), and "Psychoderelict" (1993). Townshend also got the chance to play with his hero Hank Marvin for Paul McCartney's "Rockestra" sessions, along with other respected rock musicians such as David Gilmour, John Bonham and Ronnie Lane.

Townshend has also recorded several live albums, including one featuring a supergroup he assembled called Deep End, who performed just two concerts and a TV show session for "The Tube", to raise money for a charity supporting drug addicts. In 1984 Townshend published a collection of short stories entitled "Horse's Neck". He has also reported that he is writing an autobiography. In 1993 he and Des McAnuff wrote and directed the Broadway adaptation of the Who album "Tommy", as well as a less successful stage musical based on his solo album "The Iron Man", based upon the book by Ted Hughes. McAnuff and Townshend later co-produced the animated film "The Iron Giant", also based on the Hughes story.

A production described as a Townshend rock-opera and titled "The Boy Who Heard Music" was scheduled to début as part of Vassar College's Powerhouse Summer Theater program in July 2007.

Recent Who work

From the mid-1990s through the present, Townshend has participated in a series of tours with the surviving members of The Who, including a 2002 tour that continued despite Entwistle's death.

In February 2006, a major world tour by The Who was announced to promote their first new album since 1982. Townshend published a semi-autobiographical story "The Boy Who Heard Music" as a serial on a blog beginning in September 2005. [ [http://www.petetownshend.co.uk/projects The Who Official Band Website - Roger Daltrey, Pete Townshend, John Entwistle, and Keith Moon | Home ] ] The blog closed in October 2006, as noted on Townshend's website. It is now owned by a different user and does not relate to Townshend's work in any way. On 25 February 2006, he announced the issue of a mini-opera inspired by the novella for June 2006. In October 2006 The Who released an album, "Endless Wire". A full opera entitled "The Boy Who Heard Music" based on this concept also debuted at Vassar College in July 2007.

Hearing loss

Townshend suffers from partial deafness and tinnitus as a result of extensive exposure to loud music through headphones and in concert, including The Who concert at Charlton Athletic Football Ground, London, on 31 May 1976 that was listed in the Guinness Book of Records, where the volume level was measured at 126 decibels 32 metres from the stage. It is also possible that Keith Moon's exploding drum set during The Who's appearance on the Smothers Brothers Comedy Hour contributed to Pete's hearing loss. In 1989, Townshend gave the initial funding to allow the formation of the non-profit hearing advocacy group H.E.A.R. (Hearing Education and Awareness for Rockers).

Interviews

From the The Who's emergence on the British musical landscape, Pete Townshend could always be counted upon for good copy. By early 1966 he had become the band's spokesman, interviewed separate from the band for the BBC television series "A Whole Scene Going" admitting that the band used drugs and that he considered The Beatles' backing tracks "flippin' lousy". Throughout the 1960s Townshend made regular appearances in the pages of British music magazines, but it was a very long interview he gave to "Rolling Stone" in 1968 that sealed his reputation as one of rock's leading intellectuals and theorists.

Townshend gave interview after interview to the newly risen underground press, not only providing them with a star for their covers, but firmly establishing his reputation as an honest and erudite commentator on the rock 'n' roll scene. In addition, he wrote his own articles, starting a regular monthly column in "Melody Maker", and contributing to "Rolling Stone" with an article on his avatar Meher Baba and a review of The Who's album "Meaty Beaty Big and Bouncy".

Townshend has withdrawn from the press on occasion. On his 30th birthday, Townshend discussed his feelings that The Who were failing to journalist Roy Carr, making acid comments on fellow Who member Roger Daltrey and other leading members of the British rock community. Carr printed his remarks in the "NME" causing strong friction within The Who and embarrassing Townshend. Feeling betrayed, he stopped interviews with the press for over two years.

Nevertheless, Townshend has maintained close relationships with journalists, and sought them out in 1982 to describe his two-year battle with cocaine and heroin. Some of those press members turned on him in the 1980s as the punk rock revolution led to widespread dismissal of the old guard of rock. Townshend attacked two of them, Julie Burchill and Tony Parsons, in the song "Jools And Jim" on his album "Empty Glass" after they made some derogatory remarks about Who drummer Keith Moon. Meanwhile several journalists denounced Townshend for what they saw as a betrayal of the idealism about rock music he had espoused in his earlier interviews when The Who participated in a tour sponsored by Schlitz in 1982 and by Miller Brewing in 1989. Townshend's 1993 concept album "Psychoderelict" offers a scathing commentary on journalists in the character of Ruth Streeting, who attempts to scandalize the main character, Ray High.

By the 1990s Townshend was still a popular interview subject although his comments were sometimes given a scandalous spin. A 1990 book of interviews by Timothy White, "Rock Lives", contained Townshend's thoughts on the meaning of his song "Rough Boys" that gave the mistaken impression that he was gay or bisexual. The information was picked up by the British tabloid press that spread this misinformation around the world. Townshend kept silent on the issue out of respect for his gay friends, until clarifying in a 1994 "Playboy" interview that he was neither gay nor bisexual.

Townshend still continues to write pieces on rock and his place in it, mostly for his website but he also remains a celebrity sought after by music magazines and newspapers to the present day.

On 25 October 2006, Townshend declined at the last minute to do a scheduled interview with Sirius Satellite Radio star Howard Stern after Stern's co-host Robin Quivers and sidekick Artie Lange made joking references to his 2003 arrest. [ [http://www.breitbart.com/news/2006/10/26/D8L0GU380.html Pete Townshend Blows Off Howard Stern ] ] Stern conducted an interview instead with Roger Daltrey and repeatedly expressed regret about the utterances of his on-air colleagues stating that they did not reflect his own feelings of respect for Townshend.

Later in 2006, Townshend appeared on the popular "Living Legends" radio show in an exclusive interview with Opal Bonfante. The live interview was broadcasted worldwide on Radio London, his first live interview for fifteen years. Townshend spoke about his forthcoming UK tour, his online novella and his memories of the old pirate radio stations.

Musical equipment

Throughout his solo career and his career with The Who, Townshend has played (and destroyed) a large variety of guitars.

In the early days with The Who, Townshend played an Emile Grimshaw SS De Luxe and 6-string and 12-string Rickenbacker semi-hollow electric guitars primarily (particularly the Rose-Morris UK-imported models with special f-holes). However, as instrument-smashing became increasingly integrated into The Who's concert sets, he switched to more durable and resilient (and sometimes cheaper) guitars for smashing, such as the Fender Stratocaster, Fender Telecaster and various Danelectro models. On the Who's famous Smothers Brothers Comedy Hour appearance in 1967, Townshend used a Vox Cheetah guitar, which he only used for that performance, and the guitar was destroyed into smithereens by Townshend, and Moon's drum explosion. In the late 1960s, Townshend began playing Gibson SG models almost exclusively, specifically the Special models. He used this guitar at the Woodstock and Isle of Wight shows in 1969 and 1970.

By 1972, Gibson changed the design of the SG Special which Townshend had been using previously, and thus he began using other guitars. For much of the 1970s, he used a Gibson Les Paul Deluxe, some with only two mini-humbucker pickups and others modified with a third pickup. He can be seen using several of these guitars in the documentary "The Kids Are Alright", although in the studio he often played a '59 Gretsch 6120 guitar, most notably on the albums "Who's Next" and "Quadrophenia".

During the 1980s, Townshend mainly used Rickenbackers and Telecaster-style models built for him by Schecter and various other luthiers. Since the late-1980s, Townshend has used the Fender Eric Clapton Signature Stratocaster, with Lace-Sensor pickups, both in the studio and on tour. Some of his Stratocaster guitars feature a Fishman PowerBridge piezo pick-up system to simulate acoustic guitar tones. This piezo system is controlled by an extra volume control behind the guitar's bridge.

Townshend has used a number of other electric guitars, including various Gretsch, Gibson, and Fender models. He has also used Guild, Takamine and Gibson J-200 acoustic models. One Gretsch was a vintage model given to him by Joe Walsh.

There are several Gibson Pete Townshend signature guitars, such as the Pete Townshend SG, the Pete Townshend J-200, and three different Pete Townshend Les Paul Deluxes. The SG was clearly marked as a Pete Townshend limited edition model and came with a special case and certificate of authenticity, signed by Townshend himself. There has also been a Pete Townshend signature Rickenbacker limited edition guitar of the model 1997, which was his main 6-string guitar in the Who's early days.

He also used the Gibson ES-335, one of which he donated to the Hard Rock Cafe. Townshend also used a Gibson EDS-1275 double neck very briefly around 1968, and both a Harmony Sovereign H1270 [ [http://www.thewho.net/whotabs/equipment/guitar/equip-harmony12.html Pete's Equipment | Harmony Sovereign H-1270 12-string acoustic guitar | Whotabs | Pete Townshend ] ] and a Fender XII Guitar for the studio sessions for "Tommy" for the 12-string guitar parts.

Most recently in 2006, Townshend had a pedal board designed by long-time gear guru Pete Cornish. The board apparently is composed with a compressor, an old Boss OD-1 overdrive pedal, as well as a T-Rex Replica delay pedal.

Over the years, Pete Townshend has used many types of amplifiers, including Vox, Fender, Marshall, Hiwatt etc., sticking to using Hiwatt amps for most of four decades. Around the time of "Who's Next", he used Fender amps. For some time his rig consisted of four Fender Vibro-King stacks and a Hiwatt head driving two custom made 2x12" Hiwatt/Mesa Boogie speakers.

Townshend figured prominently in the development of what is widely known in rock circles as the "Marshall Stack". It has been recounted by others during the start of popularity of Jim Marshall's guitar amplifiers, that Townshend became a user of these amps.

He also ordered several speaker cabinets that contained eight speakers in a housing standing nearly six feet in height with the top half of the cabinet slanted slightly upward. These became hard to move and were incredibly heavy.

Jim Marshall then cut the massive speaker cabinet into two separate speaker cabinets, at the suggestion of Townshend, with each cabinet containing four 12-inch speakers. One of the cabinets had half of the speaker baffle slanted upwards and Marshall made these two cabinets stackable. The Marshall stack was born, and Townshend used these as well as Hiwatt stacks.

His amplifier rig currently usually consists of four Fender Vibro King amps with extension cabinets.

He has always regarded his instruments as being merely tools of the trade and has, in latter years, determinedly kept his most prized instruments well away from the concert stage. These instruments include a few vintage and reissue Rickenbackers, the Gretsch 6120, Gibson Custom Shop's artist limited edition reissues of Townshend's Les Paul Deluxe models 1, 3 and 9 as well his signature SG Special reissue.

Literary work

Although best known for his musical compositions and musicianship, Pete Townshend has been extensively involved in the literary world for more than three decades, writing newspaper and magazine articles, book reviews, essays, books, and scripts.

An early example of Townshend’s writing came in August 1970 with the first of nine installments of "The Pete Townshend Page", a monthly column written by Townshend for the British music paper "Melody Maker". The column provided Townshend’s perspective on an array of subjects, such as the media and the state of U.S. concert halls and public address systems, as well as providing valuable insight into Townshend’s mindset during the evolution of his "Lifehouse" project.

Townshend also wrote three sizeable essays for "Rolling Stone" magazine, the first of which appeared in November 1970. "In Love With Meher Baba" described Townshend’s spiritual leanings. "Meaty, Beaty, Big and Bouncy", a blow-by-blow account of The Who compilation album of the same name, followed in December, 1971. The third article, "The Punk Meets the Godmother", appeared in November 1977.

Also in 1977, Townshend founded Eel Pie Publishing, which specialized in children's titles, music books, and several Meher Baba-related publications. A bookstore named Magic Bus (after the popular Who song) was opened in London. "The Story of Tommy", a book written by Townshend and his art school friend Richard Barnes about the writing of Townshend’s 1969 rock opera and the making of the 1975 Ken Russell-directed film, was published by Eel Pie the same year.

In July 1983, Townshend took a position as an acquisitions editor for London publisher Faber and Faber. Notable projects included editing Animals front man Eric Burdon’s autobiography, Charles Shaar Murray’s award-winning "Crosstown Traffic", Brian Eno and Russell Mills's "More Dark Than Shark", and working with Prince Charles on a volume of his collected speeches. Townshend commissioned Dave Rimmer’s "Like Punk Never Happened", and was commissioning editor for radical playwright Steven Berkoff.

Two years after joining Faber and Faber, Townshend decided to publish a book of his own. "Horse’s Neck", published in May 1985, was a collection of short stories he’d written between 1979 and 1984, tackling subjects such as childhood, stardom and spirituality. As a result of his position with Faber and Faber, Townshend developed a friendship with the Nobel prize-winning author of "Lord of the Flies", Sir William Golding, and became friends with British Poet Laureate Ted Hughes. His friendship with Hughes led to Townshend’s musical interpretation of Hughes's children's story, "The Iron Man", six years later.

Townshend has written several scripts spanning the breadth of his career, including numerous drafts of his elusive "Lifehouse" project, the last of which, co-written with radio playwright Jeff Young, was published in 1999. In 1978, Townshend wrote a script for "Fish Shop", a play commissioned but not completed by London Weekend Television, and in mid-1984 he wrote a script for "White City" which led to a short film.

In 1989, Townshend began work on a novel entitled "Ray High & The Glass Household", a draft of which was later submitted to his editor. While the original novel remains unpublished, elements from this story were used in Townshend’s 1993 solo album "Psychoderelict".

In 1993, Townshend authored another book, "The Who’s Tommy", a chronicle of the development of the award-winning Broadway version of his rock opera.

The opening of his personal website and his commerce site Eelpie.com, both in 2000, gave Townshend another outlet for literary work. Several of Townshend’s essays have been posted online, including "Meher Baba—The Silent Master: My Own Silence" in 2001, and "A "Different" Bomb," an indictment of the child pornography industry, the following year.

Townshend’s most recent literary contribution is "The Boy Who Heard Music", a novella which began a chapter-a-week online posting in September 2005. It is now available to read at his website. Like "Psychoderelict" this is yet another extrapolation of "Lifehouse" and "Ray High & The Glass Household".

Townshend signed a deal with Little, Brown publishing in 1997 to write his autobiography. Reportedly half-complete and titled "Pete Townshend: Who He?" this is a work in progress. Townshend's creative vagaries and conceptual machinations have been chronicled by Larry David Smith in his book "The Minstrel's Dilemma" (Praeger 1999).

Religion

Townshend showed no predilection for religious belief in the first years of The Who's career and few would have suspected that the violent guitar-smasher was even a closet acolyte. By the beginning of 1968, however, Townshend had begun to explore spiritual ideas. In January 1968, The Who recorded his song "Faith in Something Bigger" ("Odds and Sods" LP). Later that same month during a tour of Australia and New Zealand, The Small Faces' member Ronnie Lane introduced Townshend to the writings of the Indian "perfect master" Meher Baba, who blended elements of Vedantic, Sufi, and mystic schools.

Townshend swiftly absorbed all the writings of Meher Baba he could find and by April 1968, announced himself a disciple of Baba. It was at that time that Townshend, who had been searching the past two years for a basis for a rock opera, created a story inspired by the teachings of Baba and other Indian spiritualists that would ultimately become "Tommy".

"Tommy" did more than revitalize The Who's career (which was moderately successful at this point but had plateaued), it also marked a renewal of Townshend's songwriting and his spiritual studies infused most of his work from Tommy forward, including the unfinished Who project "Lifehouse". The Who song "Baba O'Riley", written for "Lifehouse" and eventually appearing on the album "Who's Next", was named for Meher Baba and minimalist composer Terry Riley. However, unlike other openly spiritual rock stars whose music became dogmatic once they discovered religion, Townshend generally soft-pedaled the religious nature of his work. This may have been because his newfound passion was not shared by his bandmates, whose attitude was tolerant, but who were unwilling to become the spokesmen for a particular religion. Few of the thousands of fans who packed stadiums across Europe and America to see The Who noticed the religious message in the songs: that "Bargain" and the middle section of "Behind Blue Eyes" from "Who's Next" and "Listening To You" from Tommy were all originally written as prayers, that "Drowned" from "Quadrophenia" and "Don't Let Go The Coat" from "Face Dances" were based on sayings by Meher Baba, that the "who are you, who, who, who, who" chorus from the song "Who Are You" was based on Sufi chants, or that "Let My Love Open The Door" was not a message from a lover but from God.

In interviews Townshend was more open about his beliefs, penning an article on Baba for "Rolling Stone" in 1970 and stating that following Baba's teachings, he was opposed to the use of all psychedelic drugs, making him one of the first rock stars with counterculture credibility to turn against their use. [Pete Townshend – "Rolling Stone", No. 71 (November 26, 1970)]

His stardom quickly made him the world's most notable follower of Meher Baba. Having just missed out on meeting his avatar with Baba's death 31 January 1969 (work on "Tommy" kept him from making the pilgrimage), Townshend made several trips to visit Baba's tomb in India as well as becoming a frequent visitor to the Meher Baba Spiritual Center in Myrtle Beach, South Carolina. At home he recorded and released his most overtly spiritual songs on records assembled, pressed and sold by Baba organizations. When these records became widely bootlegged, Townshend put together a selection of the tracks for release as the solo album "Who Came First". One of the songs from that album, "Parvardigar", a Baba prayer set to music by Townshend, would gradually be accepted as a hymn by the Baba movement. In 1976 he opened the Oceanic Centre in London, using it as a haven for English Baba followers and Americans making a pilgrimage to Baba's tomb as well as a place for small concerts (one such in 1979 was released on CD in 2001 as "Pete Townshend & Raphael Rudd—The Oceanic Concerts") and a repository for films made of Baba.

Townshend became a lower-profile member after 1982, having felt that his just-ended two-year indulgence in cocaine and heroin had made him a poor candidate to be a spokesman. Nevertheless his discipleship remains an ever-present element of his career and a key to those looking for the meaning and background to his work.

Personal life

Townshend met Karen Astley (daughter of composer Ted Astley) while in art school and married her in 1968. The couple separated in 1994 and Townshend announced they would divorce in 2000. They have three children: Emma (b. 1969), who is a singer/songwriter, Aminta (b. 1971), and Joseph (b. 1989). For many years Townshend refused to confirm or deny rumours that he was bisexual. In a 2002 interview with "Rolling Stone" magazine, however, he explained that, although he engaged in some brief same-sex experimentation in the 1960s, he is heterosexual. Townshend currently lives with his long-time partner, musician Rachel Fuller, in Richmond, England. He also owns a house in Churt, Surrey, England.

Charity work

Pete Townshend has woven a long history of involvement with various charities and other philanthropic efforts throughout his career, both as a solo artist and with The Who. His first solo concert, for example, was a 1974 benefit show which was organized to raise funds for the Camden Square Community Play Center.

The earliest public example of Townshend’s involvement with charitable causes is the relationship he established with the Richmond-based Meher Baba Association. In 1968, Townshend donated the use of his former Wardour Street apartment to the Meher Baba Association. The following year, the association was moved to another Townshend-owned apartment, the Eccleston Square former residence of wife Karen. Townshend sat on a committee which oversaw the operation and finances of the centre. "The committee sees to it that it is open a couple of days a week, and keeps the bills paid and the library full," he wrote in a 1970 "Rolling Stone" article.

In 1969 and 1972 Townshend produced two limited-release albums, "Happy Birthday" and "I Am", for the London-based Baba association. This led to 1972’s "Who Came First", a more widespread release, 15 percent of the revenue of which went to the Baba association. A further limited release, "With Love", was released in 1976. A limited-edition boxed set of all three limited releases on CD, "Avatar", was released in 2000, with all profits going to the Avatar Meher Baba Trust in India, which provided funds to a dispensary, school, hospital and pilgrimage centre.

In July 1976, Townshend opened Meher Baba Oceanic, a London activity centre for Baba followers which featured film dubbing and editing facilities, a cinema and a recording studio. In addition, the centre served as a regular meeting place for Baba followers. Townshend offered very economical (reportedly £1 per night) lodging for American Baba followers who needed an overnight stay on their pilgrimages to India. "For a few years, I had toyed with the idea of opening a London house dedicated to Meher Baba," he wrote in a 1977 "Rolling Stone" article. "In the eight years I had followed him, I had donated only coppers to foundations set up around the world to carry out the Master’s wishes and decided it was about time I put myself on the line. The Who had set up a strong charitable trust of its own which appeased, to an extent, the feeling I had that Meher Baba would rather have seen me give to the poor than to the establishment of yet another so-called 'spiritual center'."

Townshend also embarked on a project dedicated to the collection, restoration and maintenance of Meher Baba-related films. The project was known as MEFA, or Meher Baba European Film Archive.

Children's charities

Townshend has been an active champion of children’s charities. The debut of Pete Townshend’s stage version of "Tommy" took place at San Diego’s La Jolla Playhouse in July 1992. The show was earmarked as a benefit for the London-based Nordoff-Robbins Music Therapy Foundation, an organization which helps children with autism and mental retardation.

Townshend performed at a 1995 benefit organized by Paul Simon at Madison Square Garden's Paramount Theatre, for The Children’s Health Fund. The following year, Townshend performed at a benefit for the Bridge School, a California facility for children with severe speech and physical impairments. In 1997, Townshend established a relationship with Maryville Academy, a Chicago area children’s charity. Between 1997 and 2002, Townshend played five benefit shows for Maryville Academy, raising at least $1,600,000. In addition, proceeds from the sales of his 1999 release "Pete Townshend Live" were also donated to Maryville Academy.

As a member of The Who, Pete Townshend has also performed a series of concerts, beginning in 2000, benefitting the Teenage Cancer Trust in the UK, raising several million pounds. In 2005, Townshend performed at New York’s Gotham Hall for Samsung’s Four Seasons of Hope, an annual children's charity fundraiser.

Drug rehabilitation

Townshend has also advocated for drug rehabilitation. “What I’m most active in doing is raising money to provide beds in clinics to help people that have become victims of drug abuse,” he said in a late 1985 radio interview. “In Britain, the facilities are very, very, very lean indeed ... although we have a national health service, a free medical system, it does nothing particularly for class A drug addicts – cocaine abusers, heroin abusers ... we’re making a lot of progress ... the British government embarked on an anti-heroin campaign with advertising, and I was co-opted by them as a kind of figurehead, and then the various other people co-opted me into their own campaigns, but my main work is raising money to try and open a large clinic.”

The "large clinic" Townshend was referring to was a plan he and drug rehabilitation pioneer Meg Patterson had devised to open a drug treatment facility in London; however, the plan failed to come to fruition. Two early 1979 concerts by the Who raised £20,000 for Patterson’s Pharmakon Clinic in Sussex.

Further examples of Townshend’s anti-drug activism took place in the form of a 1984 benefit concert, an article he wrote a few days later for Britain’s "Mail On Sunday" urging better care for the nation’s growing number of drug addicts, and the formation of a charitable organization, Double-O Charities, to raise funds for the causes he’d recently championed. Townshend also personally sold fund-raising anti-heroin T-shirts at a series of UK Bruce Springsteen concerts, and reportedly financed a trip for troubled former Clash drummer Topper Headon to undergo drug rehabilitation treatment. Townshend's 1985–86 band, Deep End, played two benefits at Brixton Academy in 1985 for Double-O Charities.

Amnesty International

In 1979, Townshend became the first major rock musician to donate his services to the human rights organization Amnesty International when he performed three songs for its benefit show "The Secret Policeman's Ball" - performances that were released on record and seen in the film of the show. Townshend's acoustic performances of three of his songs ("Pinball Wizard", "Drowned", and "Won't Get Fooled Again") were subsequently cited as having been the forerunner and inspiration for the "unplugged" phenomenon in the 1990s. Townshend had been invited to perform for Amnesty by Martin Lewis, the producer of "The Secret Policeman's Ball" who stated later that Townshend's participation had been the key to his securing the subsequent participation for Amnesty (in the 1981 sequel show) of Sting, Eric Clapton, Jeff Beck, Phil Collins and Bob Geldof. Other performers inspired to support Amnesty International in future "Secret Policeman's Ball" shows and other benefits because of Townshend's early commitment to the organization include Peter Gabriel, Bruce Springsteen, David Gilmour and U2 singer Bono who in 1986 told "Rolling Stone" magazine: "I saw "The Secret Policeman's Ball" and it became a part of me. It sowed a seed...."

Miscellaneous efforts

Highlights of Pete Townshend’s other public charitable efforts include the following:
* A 1972 "Tommy" performance which raised nearly £10,000 for the Stars Organization for Spastics charity.
* A 1979 Rock Against Racism benefit concert, organized to raise money to pay the legal costs of those arrested in a London area anti-racism demonstration. Townshend helped organize the show, topped the bill, and supplied the event lighting and equipment.
* A 1981 Rock Against Unemployment benefit concert, part of the People’s March For Jobs campaign.
* A 1982 Prince’s Trust Gala Benefit performance.
* Performing with The Who at the 1985 Live Aid concert.
* Involvement in fundraising supportive of Nelson Mandela’s African National Congress.
* Performing in a 1986 Royal Albert Hall benefit show for the victims of a Colombian Volcano disaster which killed over 25,000 people.
* A 2001 benefit show for San Diego’s La Jolla Playhouse which raised approximately $100,000.
* Performing in Rock the Dock, a 1998 benefit for striking Liverpool dock workers.
* Organizing an online auction in 2000 to raise funds for Oxfam’s emergency services to help those affected by floods in Mozambique and a combination of drought and food shortages in Ethiopia. Among the auctioned items were a selection of gold and platinum awards, letters from celebrities such as Eric Clapton and Paul McCartney, and musical instruments (including a smashed Rickenbacker guitar and the guitar on which Townshend composed the Who classic "Behind Blue Eyes"). The centerpiece of the auction, however, was a 1957 Fender Stratocaster which was given to Townshend as a gift by Eric Clapton after Townshend had helped arrange Clapton’s 1973 comeback show at the Rainbow. The guitar was ultimately purchased by Pete Townshend, Mick Jagger and David Bowie, and presented to British Prime Minister Tony Blair.
* Performing at the Royal Albert Hall in a 2004 Ronnie Lane tribute show which served as a fundraiser for both Lane’s family and multiple sclerosis research.
* Performing with The Who at the 2005 Live 8 concert.

Legal matters

As part of the Operation Ore investigations, Townshend was cautioned by the police in 2003 after acknowledging a credit card access in 1999 to the Landslide website alleged to advertise child pornography. [http://news.bbc.co.uk/1/hi/uk/2648987.stm BBC] [http://www.timesonline.co.uk/tol/news/uk/article539974.ece The Times] He claimed in the press and on his website to have been engaged in research for "A Different Bomb" (a now-abandoned book based on an anti-child pornography essay published on his website in January 2002) and his autobiography, and as part of a campaign against child pornography. The police searched his house and confiscated fourteen computers and other materials and after a four-month forensic investigation confirmed that they had found no evidence of child abuse images. Consequently, the police offered a caution rather than pressing charges, issuing a statement: "After four months of investigation by officers from Scotland Yard's child protection group, it was established that Mr Townshend was not in possession of any downloaded child abuse images." In a statement issued by his solicitor, [http://edition.cnn.com/2003/WORLD/europe/05/07/uk.townshend/index.html CNN] Townshend said, "I accept that I was wrong to access this site, and that by doing so, I broke the law, and I have accepted the caution that the police have given me." As a statutory consequence of accepting the caution, Townshend was entered on the Violent and Sex Offender Register for five years. [http://www.guardian.co.uk/child/story/0,7369,951373,00.html Guardian] This would normally prevent travel abroad, but in Townshend's case such restrictions have been waived, making possible his numerous concert performances with and without The Who since receiving the caution.

A later investigator stated that he was "falsely accused". [ [http://technology.guardian.co.uk/weekly/story/0,,2059832,00.html Operation Ore flawed by fraud | Special reports | guardian.co.uk ] ] After obtaining copies of the Landslide hard drives and tracing Townshend's actions, investigative journalist Duncan Campbell wrote in "PC Pro" Magazine, "Under pressure of the media filming of the raid, Townshend appears to have confessed to something he didn't do." Campbell states that their entire evidence against Townshend was that he accessed a single site among the Landslide offerings which was not connected with child pornography. [http://ore-exposed.obu-investigators.com/PC_PRO_Operation_Ore_Exposed_2.html Investigative journalist Duncan Campbell details flaws in the Operation Ore investigations.]

Discography

Guest Appearances

* "Because You're Young" with David Bowie on "Scary Monsters (and Super Creeps)" (1980)
* "Lonely at the Top" and "Hard Women" with Mick Jagger on "She's the Boss" (1985)
* "Substitute" with The Ramones on "Acid Eaters" (1993)
* "Joy" and "Gun" with Mick Jagger on "Goddess in the Doorway" (2001)
* "Slow Burn" with David Bowie on "Heathen" (2002)

In 1968 Townshend helped assemble a band called Thunderclap Newman consisting of three musicians he knew. Pianist Andy Newman (an old art school friend), drummer John "Speedy" Keen (who had written "Armenia City in the Sky" for The Who to record for their 1967 album The Who Sell Out) and teenage guitarist Jimmy McCulloch (later to join Wings). Townshend produced the band and played bass on their recordings under the tongue-in-cheek pseudonym "Bijou Drains". Their first recording was the single "Something in the Air" which became a number one hit in the UK and a substantial hit elsewhere in the world. Following this success, Townshend produced their sole album "Hollywood Dream".

In 1971, Townshend, along with Keith Moon and Ronnie Lane backed Mike Heron (of the Incredible String Band on one song Warm Heart Pastry from Heron's first solo LP, "Smiling Men with Bad Reputations". On the album notes, they're listed as "Tommy and the Bijoux". Also present on the track was John Cale on viola.

For albums Townshend composed as a member of The Who, see their entry. Not included are albums by other artists on which Townshend played as a session musician. Through much of 2005, Pete Townshend recorded and performed alongside his partner Rachel Fuller, a classically trained pianist and singer-songwriter.

In 2006, Townshend opened a website for implementation of The Lifehouse Method based on his 1971 "Lifehouse" concept. This website is in collaboration with composer Lawrence Ball and software developer David Snowden. Applicants at the website can input data to compose a musical 'portrait' which the musical team may then develop into larger compositions for a planned concert or series of concerts to be announced.

Awards

* BRIT Awards 1983 - Life Achievement Award
* Tony Award 1993 - Best Original Score (music & lyrics) - "The Who's Tommy" (tie)
* Grammy Awards 1993 - Best Musical Show Album (as composer and lyricist of "The Who's Tommy")

* Kennedy Center Honors 2008 - It was announced September 10, 2008 that Pete Townshend and Roger Daltrey would be recipients of the Kennedy Center Honors

ee also

*Guitar Moves
*Cliff Townshend
*The Who

References

# [http://www.thewho.net:16080/articles/townshen/rs68.htm "The Rolling Stone Interview: Pete Townshend."] by Jann Wenner, "Rolling Stone", 14-18 September 1968
# [http://www.thewho.net/articles/townshen/peteandt.htm "Pete and Tommy, Among Others"] by Rick Sanders & David Dalton, "Rolling Stone", July 12, 1969
# [http://www.thewho.net/articles/townshen/rs_1970.htm "In Love With Meher Baba"] by Pete Townshend, "Rolling Stone", November 26, 1970
# [http://www.thewho.net/articles/townshen/mm_ptpages.htm "The Pete Townshend Pages"] by Pete Townshend, Melody Maker, 22 August 1970 - 14 April 1971
# [http://www.thewho.net/articles/townshen/penthouse_1974.htm "Pete Townshend: The Penthouse Interview"] by Cameron Crowe, Penthouse, December 1974
# [http://www.thewho.net/articles/townshen/spirit.htm "The Spiritual Responsibility Of Pete Townshend"] by Joseph Rose, Hit Parader, June 1975
# [http://www.thewho.net/articles/townshen/nme_75.htm "The Punk as Godfather"] by Roy Carr, New Musical Express, 31 May 1975
# [http://www.wdkeller.com/rs252.htm "The Punk Meets The Godmother"] by Pete Townshend, "Rolling Stone", 17 November 1977
# [http://www.thewho.net/articles/townshen/convers.htm "Conversations With Pete"] by Charles Shaar Murray, New Musical Express, 19 April 1980
# [http://www.thewho.net/articles/townshen/rs80.htm "Interview with Pete Townshend"] by Greil Marcus, "Rolling Stone", June 26, 1980
# [http://www.unmondodi.it/mirror/10/www.thejam.org/That's%20Entertainment/pete_townshend.htm "Heroes and Junkies"] by Pete Townshend, Time Out, 12-18 March 1982
# [http://www.wdkeller.com/pent83.htm "Pete Townshend: The Penthouse Interview"] by Kathleen McAuliffe, Penthouse, August 1983
# [http://www.wdkeller.com/pb94.htm "Pete Townshend: The Playboy Interview"] by David Sheff, Playboy, February 1994
# [http://www.richmondreview.co.uk/features/townshend.html "An Introduction to Lifehouse"] by Pete Townshend, The Richmond Review, 1999
# [http://www.wdkeller.com/roots.htm "Machine Gun"] by Alan Di Perna, Guitar World Acoustic, no. 38, Summer 2000
# [http://www.wdkeller.com/pta.htm "Not F-F-Fade Away"] by Gary Graff, Guitar One, September 2000
# [http://www.rollingstone.com/artists/petetownshend/articles/story/5939827/pete_townshend_the_rs_interview "Pete Townshend: The Rolling Stone Interview"] by Chris Heath, "Rolling Stone", July 2002
# [http://www.modernguitars.com/archives/001029.html "Pete Townshend Smashes Guitar... for Charity"] Modern Guitars Magazine, 12 August 2005
# [http://www.publications.parliament.uk/pa/cm200405/cmselect/cmwelaf/46/4602.htm#evidence Welsh Affairs Committee - Fourth Report] , British House of Commons. Operation Ore "started when, in 2001, the details of 7,272 British suspects who had accessed child abuse images on a US website with their credit cards were passed to UK authorities."
# [http://www.dailymail.co.uk/pages/live/articles/news/news.html?in_article_id=154623&in_page_id=1770 Pete Townshend: 'I am not a paedophile'] , The Daily Mail, 11 January 2003
# [http://news.bbc.co.uk/1/hi/uk/3007871.stm Pete Townshend's statement in full] , BBC News website, 11 January 2003
# [http://www.igtc.com/archives/thewho/2003/Jan/msg00144.html Cops can come and get me] , The Sun, 12 Jan 2003 - Sun's archive is pay-per-view, story copied on internet at the [http://www.igtc.com/archives/thewho/2003/Jan/msg00144.html Archives of The Who Mailing List]
# [http://www.dailymail.co.uk/pages/live/articles/news/news.html?in_article_id=154799&in_page_id=1770 Child porn probe police meet musician Townshend] , The Daily Mail, 13 January 2003
# [http://www.petetownshend.co.uk/diary/display.cfm?id=97&zone=diary I need to clarify a few things I think] , Pete's Diaries, 10 November 2004
# [http://www.guardian.co.uk/uk_news/story/0,3604,874319,00.html Townshend arrested over child porn] , The Guardian, 14 January 2003
# [http://www.dailymail.co.uk/pages/live/articles/showbiz/showbiznews.html?in_article_id=171092&in_page_id=1773 Townshend to escape charges] , Daily Mail, 10 March 2003: "Although police have not formally completed their inquiry, it is believed they are planning to caution Townshend. For that to happen, the 57-year-old would have to make an admission of guilt, therefore giving him a criminal record."
# [http://www.dailymail.co.uk/pages/live/articles/showbiz/showbiznews.html?in_article_id=179859&in_page_id=1773 Townshend on sex register] , Daily Mail, 7 May 2003: "Police stressed that access and payment for child abuse images was an offence. 'Inciting others to distribute these images leads to young children being seriously sexually assaulted to meet the growing demands of the Internet customer.'"
# [http://www.probation.homeoffice.gov.uk/files/pdf/MAPPA%20Guidance.pdf The MAPPA Guidance] , National Probation Service for England and Wales, Circular 25/2003, 31 March 2003: "Part I of the Sex Offender Act 1997 defines registered sex offenders as those offenders having been convicted or cautioned since September 1997 of certain sexual offences, or who at that point were serving a sentence for a like offence."
# [http://www.petetownshend.co.uk/diary/display.cfm?id=48&zone=diary Silence Day] , Pete's Diaries, 10 July 2003
# [http://www.breitbart.com/news/2006/10/26/D8L0GU380.html "Pete Townshend Blows Off Howard Stern"] breitbart.com, 26 October 2006
# [http://www.pcpro.co.uk/features/74690/operation-ore-exposed/page3.html "Operation Ore Exposed"] PC Pro, 1 July 2005
# [http://www.timesonline.co.uk/tol/news/uk/article539974.ece "Child porn suspects set to be cleared in evidence ‘shambles’"] The Sunday Times (UK), 3 July 2005
# [http://www.capitalgold.com/podcasts David Jensen's Celebrity Podcasts: Pete Townshend."] Download David Jensen's interview with Pete Townshend recorded for Capital Gold UK Radio in March 2007

External links

* [http://www.petetownshend.co.uk/ Pete Townshend's official web site]
* [http://www.theboywhoheardmusic.com/ The Boy Who Heard Music.com - Pete and The Who Fan Website]
* [http://www.eelpie.com/ Pete Townshend's commercial Eelpie web site]
* [http://petewho.thewho.com/ "Pete's Diaries"]
* [http://www.thewho.net/whotabs/equipment.htm Pete Townshend's equipment]
* [http://www.wholocations.co.uk The Who Location Guide - Includes Pete Townshend locations section.]
* [http://www.thesmokinggun.com/archive/petetownshend1.html 'A Different Bomb' by Pete Townshend as posted by "The Smoking Gun" website]
* [http://www.thewhoforum.co.uk/ The Who Forum: Who & Pete Townshend News and discussion community.]
* [http://www.thewho.net/articles/townshen/rs_1970.htm "Rolling Stone" interview, 1970]
* [http://www.petetownshend.co.uk/towsertv/ The Who ("Towser") TV: Online Webcasts]
* [http://tomwatson.typepad.com/tom_watson/2006/06/the_man_who_hea.html The Man Who Hears Music]
* [http://newcritics.com/blog1/2007/02/28/pete-townshend-who-he-and-us/ Pete Townshend: Who, He? (and Us)]
* [http://crawdaddy.wolfgangsvault.com/Article.aspx?id=6072 Pete Townshend: Classy and Articulate (1982 Audio interview)] at "Crawdaddy!"
*
*

Источник: Pete Townshend

Roger Daltrey

Infobox musical artist
Name = Roger Daltrey


Img_capt = Roger Daltrey dressed like Elton John at the Hyde Park Live 8 concert (2005)
Img_size = 250
Landscape = Yes
Background = solo_singer
Birth_name = Roger Harry Daltrey
Alias =
Born = birth date and age|1944|3|1|df=y
Hammersmith, London, England
Died =
Instrument = Vocals, Guitar, Harmonica, percussion
Genre = Rock, hard rock, art rock, pop rock
Occupation = Singer, Songwriter, Musician, Actor, Film producer
Years_active = 1959 - present
Voice_type = Tenor
Label = Various
Associated_acts = The Who, The RD Crusaders
URL =

Roger Harry Daltrey, CBE (born 1 March 1944), is an English rock vocalist, songwriter, and actor, best known as the founder and lead singer of English rock band The Who. He has maintained a musical career as a solo artist and has also worked in the film industry, acting in a large number of film, theatre and television roles and also producing films.

Early years

Roger Harry Daltrey was born in the Hammersmith area of London, but was raised in Acton, the same working class suburban neighbourhood that produced fellow Who members Pete Townshend and John Entwistle. He was one of three children born to parents Irene and Harry Daltrey, and grew up with two sisters, Gillian and Carol. Harry Daltrey worked for a water closet manufacturer, and Irene Daltrey was told she would be unable to have children because of losing a kidney in 1937. Nevertheless, she went into labour during a World War II air raid and gave birth to her son at the nearby Hammersmith Hospital, West London. At the age of three, the young Roger swallowed a rusty nail which had to be surgically removed, leaving a visible scar. At the age of five, the rust from the nail caused an ulcer in his stomach which required him to be hospitalised.

Daltrey attended Victoria Primary School and then Acton County Grammar School for boys along with Pete Townshend and John Entwistle. He showed academic promise in the English state school system, ranking at the top of his class on the eleven plus examination that led to his enrollment at the Acton County Grammar School. His parents hoped he would eventually continue on to study at university, but Daltrey turned out to be a self-described "school rebel" and developed a dedicated interest in the emerging rock and roll music scene instead.

He made his first guitar from a block of wood and formed a skiffle band called The Detours. When his father bought him an Epiphone guitar in 1959, he became the lead guitarist for the band and soon afterward was expelled from school for smoking. Describing the post-war times, Pete Townshend wrote in his autobiography, "Until he was expelled, Roger had been a good pupil. Then he heard Elvis and transmogrified into a Teddy Boy with an electric guitar and a dress-sneer. Was it simply rock ‘n’ roll? It was obvious to a young man as intelligent as Roger that there was no future in conforming any more."

Daltrey became a sheet metal worker during the day, while practicing and performing nights with the band at weddings, pubs and men's clubs. He invited schoolmate John Entwistle to play bass in the band, and on the advice of Entwistle, invited Pete Townshend to play guitar. At that time, the band consisted of Daltrey on lead guitar, Pete Townshend on rhythm guitar, John Entwistle on bass, Doug Sandom on Drums and Colin Dawson on lead vocals. After Colin Dawson left the band, Daltrey switched to vocals and played harmonica as well, while Townshend became the lead guitarist. In 1964 drummer Doug Sandom left the band, and Keith Moon became the drummer. Lately, Daltrey has played acoustic guitar on some songs during concerts.

Early on, Daltrey was the band's leader, earning a reputation for using his fists to exercise control when needed, despite his small stature (his height is reportedly 5 feet 7 inches (1.70 m). According to Townshend, Roger "ran things the way he wanted. If you argued with him, you usually got a bunch of fives." [Giuliano, p. 26 ] He generally selected the music they performed, including songs by The Beatles, various Motown artists, James Brown, and other rock standards.

In 1964 the group discovered another band working as The Detours and discussed changing their name. Pete Townshend suggested "The Hair" and Townshend's roommate Richard Barnes suggested "The Who." The next morning, Daltrey made the decision for the band, saying "It's The Who, innit?"

During 1964, band manager Peter Meaden renamed the band The High Numbers as part of a move to establish the band as Mod favourites. The name was a reference to the T-shirts with "numbers" that the Mods used at the time. Pete Meaden composed Mod songs for them (in fact, the songs were almost copies of Mod hits at the time, with changed lyrics) and they released just one single, "I'm The Face/Zoot Suit", by Fontana Records. After this single was unsuccessful, the band changed their name back to The Who.

The Who years

With the band's first hit single and record deal in early 1965, Townshend began writing original material and Daltrey's dominance of the band began to decline. In the midst of the band's success, Daltrey repeatedly found himself fighting to keep the other members of The Who away from the drug and alcohol dependence that he believed would destroy them. He once flushed drummer Keith Moon's pills down the lavatory and, when Moon protested, knocked him down with one punch.

Because of such incidents and also the shifting dynamics of control within the group, the other members of The Who expelled Daltrey from the band in late 1965, causing him to examine his methods of dealing with people. A couple of days later, Daltrey swallowed his pride and promised there would be no more violent outbursts or assaults. Daltrey recalled, "I thought if I lost the band I was dead. If I didn't stick with The Who, I would be a sheet metal worker for the rest of my life."

The band's second single, "Anyway, Anyhow, Anywhere" was the only song on which Daltrey and Townshend collaborated, and Daltrey only wrote two other songs for the band. As Townshend developed into one of rock's most accomplished composers, Daltrey's vocals became the vehicle through which Townshend's visions were expressed, and he gained an equally vaunted reputation as a powerful vocalist and riveting frontman. The Who's stage act was highly energetic, and Daltrey's habit of swinging the microphone around by its cord on stage became a signature move.

Daltrey's stuttering expression of youthful anger, frustration and arrogance in the band's breakthrough single, "My Generation", captured the revolutionary feeling of the 1960s for many young people around the world and became the band's trademark. Later, his scream near the end of "Won't Get Fooled Again" became a defining moment in rock and roll.

In October 1973, Townshend was at a low point after struggling through the "Lifehouse" and "Quadrophenia" projects, and Daltrey was experiencing success with his solo projects and acting roles. Daltrey had quite a bit of free time while others of the band worked on recording the music for "Quadrophenia", and he used some of this time to check The Who's books. He found they had fallen into disarray under the management of Kit Lambert and Chris Stamp. Kit Lambert was also Pete Townshend's artistic mentor and challenging him led to renewed tension within the band. During a filming session (in an incident that Daltrey claimed was overblown) Townshend and Daltrey argued over the schedule. Townshend whacked the singer over the head with his guitar and Daltrey responded by knocking Townshend unconscious, again with a single blow. [ Giuliano, p. 103 ]

With each of The Who's milestone achievements, "Tommy", "Who's Next", and "Quadrophenia", Daltrey was the face and voice of the band as they defined themselves as the ultimate rebels in a generation of change. When Ken Russell's adaptation of "Tommy" appeared as a feature film in 1975, Daltrey played the lead role and was nominated for a Golden Globe Award for "Best Acting Debut in a Motion Picture". Afterward, Daltrey worked with Russell again, starring as Franz Liszt in Lisztomania. He worked with Rick Wakeman on the soundtrack to this film, writing the lyrics to three songs and also performing these, as well as others.The Who went on after the death of Keith Moon in 1978, but tension continued as Daltrey felt new drummer Kenney Jones was the wrong choice for The Who. In 1980 Daltrey completed a major project for The Who Films, Ltd., a dramatic film called "McVicar" about U.K. bank robber John McVicar. Daltrey produced and starred in the film, and completed a striking soundtrack with other members of the band. This success, along with other stresses, contributed to decay of relations with Townshend, and The Who retired from active touring in 1982 when Townshend felt he was no longer able to write for the band. The band continued to work together sporadically, reuniting for the Live Aid concert and recording songs for Daltrey's solo album "Under a Raging Moon" and Townshend's solo album "".

Daltrey turned to working as an actor, completing such high profile projects as "The Beggar's Opera" and "The Comedy of Errors" for the BBC. He also appeared in several film, television and stage productions during this period, including Mike Batt's "The Hunting of the Snark" (1987), "The Little Match Girl" (1987), "Buddy's Song" (1990), which he also produced, and "Mack the Knife" (1990). In 1991 he received a Grammy Award with The Chieftains for "An Irish Evening: Live at the Grand Opera House, Belfast."

The Who returned in 1989 with their 25th anniversary tour, which was also the 20th anniversary tour of the rock opera "Tommy". The tour featured a large backing band and guest appearances by Steve Winwood, Patti LaBelle, Phil Collins and Elton John. Although Daltrey experienced life-threatening health problems, he managed to complete the tour. He continued to work on stage and screen during this period, completing projects such as "" (1995) appearing as the Tin Woodman alongside Nathan Lane, Joel Gray, Natalie Cole, and Jewel Kilcher as Dorothy. During this time, he also began to appear in U.S. television shows.

In 1994 Daltrey celebrated his fiftieth birthday by producing a two-night show at Carnegie Hall called "," and popularly called "Daltrey Sings Townshend." The Who's music was arranged for orchestra by Michael Kamen, who directed The Juilliard Orchestra for the event. Pete Townshend, John Entwistle, Eddie Vedder, Sinéad O'Connor, Lou Reed, David Sanborn, Alice Cooper, Linda Perry, The Chieftains and others performed as special guests. The event was followed by a major tour financed by Daltrey and including John Entwistle on bass, Zak Starkey on drums and Simon Townshend on guitar. Although the tour was considered an artistic success, it failed to make a profit and was concluded early. However, it did serve the purpose of attracting attention to songs from The Who's "Quadrophenia", and gathered support for a staging and major tour of the rock opera in 1996-1997.

In 1996 Pete Townshend was approached to produce "Quadrophenia" for The Prince's Trust concert at Hyde Park, London. He at first planned to perform the opera as a solo acoustic piece using parts of the film on the screens, but after receiving offers of financing decided on a full out production. When he first contacted Daltrey to request a collaboration, Daltrey refused, but after some discussion, he agreed to help produce a one-off performance. The opera was performed with a large backing band, including John Entwistle on bass, Pete Townshend on acoustic guitar and vocals, Zak Starkey on drums, Rabbit Bundrick and Jon Carin on keyboards, Simon Townshend on guitar and special guests including David Gilmour, Adrian Edmondson, Trevor McDonald and Gary Glitter. A horn section was added, and backing vocalists, along with other actors. On the night before the show, Daltrey was struck in the face by a microphone stand swung by Gary Glitter. The accident fractured his eye-socket and caused considerable concern that he might not be able to perform safely, but Daltrey donned an eye-patch to cover the bruises and completed the show as scheduled. Afterward, Townshend decided to take the production on tour in 1996-1997 as The Who.

After their tour to present the rock opus was successful, they returned as The Who in a stripped-down, five-piece lineup for tours in 1999-2000. The band continued to work together, making a major impact at The Concert for New York City. After Entwistle's death in June 2002, both Daltrey and Townshend decided to continue with an already planned tour as The Who. They also completed a brief tour in 2004. In 2006, they released their first studio album of new material in twenty-four years, "Endless Wire," leading some fans and critics to say that the highly acclaimed artistic tension within The Who lay between these two principals. They completed a world tour in 2006-2007 to support this album.

Later career

After The Who retired from active work in 1982, Daltrey developed his career in film and took on a number of other projects, including a tour with the British Rock Symphony in 1998, and the Night of the Proms in 2005.

Daltrey also worked with the Rock 'n Roll Fantasy Camp, raising money for charities during the final concert.

In 2005, Daltrey had a short weekly series on BBC Radio 2, presenting a personal choice of rock'n'roll favourites.

In 2006, Roger Daltrey starred as the voice of "Dragon Bus Driver" in the children's home DVD called "The Wheels on the Bus: Mango and Papaya's Animal Adventure" from Armstrong Moving Pictures. The DVD features Daltrey as a costumed children's dragon, who drives a bus for two lost puppets trying to return to their home at the zoo. Daltrey sings children's classics, such as "The Wheels on the Bus Go Round and Round" in addition to songs written specifically for the home video.

Rock persona

When Colin Dawson left The Detours and Roger Daltrey took over lead vocals, Daltrey struggled to find a voice to present the new music flooding into England. When Pete Townshend began to write hit songs for The Who, Daltrey struggled to find a voice for those, as well. His expression carried Townshend’s material well enough in recordings, and at the time his live persona suited the small club scene where The Who made their beginnings. However, this presentation lacked the confidence of later years, and was indeed still a singer seeking after a voice. In 1967 The Who made their first tour of America, appearing at the Monterey Pop Festival, and Daltrey brought back new experiences in dealing with larger venues and stages. 1968 proved a transition year, and Daltrey’s performance in "The Rolling Stones Rock and Roll Circus" showed him with a new confidence in dealing with Townshend’s material. In 1969 The Who’s first major rock opera "Tommy" was released, and Daltrey found a voice for the lead character that carried The Who to world stardom at such music venues as Woodstock and the Isle of Wight Festival in 1969 and 1970.

Daltrey has long been known as one of the most charismatic of rock’s front men. His stage persona embraces the audience and projects The Who’s repertoire as heroic anthems and touching ballads that have gripped the emotions and imagination of audiences for forty years. This persona has earned him a position as one of the “gods of rock and roll” and has influenced the development of many other bands since.

His appearance in the early seventies included striking, long blond curly hair and a sexually ambivalent look which became more masculine as the seventies progressed. He developed a trademark move of swinging and throwing his microphone through a complex sequence. His long hair, bare chest and athletic appearance during the seventies may well have provided the basis for such genres as Glam metal and “cock rock" in the eighties. Although Daltrey reduced the athleticism of his performance during later years, his presentation remains dynamic and gripping.

Honors

In 2003, Roger Daltrey was honoured by "Time Magazine" as a European Hero for his work with the Teenage Cancer Trust and other charities. [cite web
url= http://www.time.com/time/europe/hero/daltrey.html/
title= The Kids Are Alright
accessdaymonth= 12 January
accessyear= 2008
author= Hugh Porter
date= 20 April 2003
publisher= Time Magazine] In the New Year's Honours List published on 31 December 2004, he was created a Commander of the Order of the British Empire for services to Music, the Entertainment Industry, and Charity. It was announced on September 10, 2008, that Roger Daltrey and Pete Townshend would be 2008 recipients of the Kennedy Center Honors.

Charities

Roger Daltrey supports many charities both as a solo artist and jointly with other members of The Who. All The Who's "Encore Series" profits go to young peoples' charities. Daltrey was instrumental in starting the Teenage Cancer Trust concert series in 2000, with The Who actually playing in 2000, 2002, 2004 and 2007.Daltrey played benefits with the RD Crusaders in 2003, 2004, 2006; performed with The Who at Live 8 in 2005, for the Nordoff-Robbins Silver Clef benefit in 2005, and for the Los Angeles area City of Hope benefit in 2001 and 2004.

With The Who, he performed for the Robin Hood Foundation at the The Concert for New York City and other benefits in 2001; at Neil Young's Bridge School Benefit in 1999; and in the Quadrophenia Concert for The Prince's Trust in Hyde Park, 1996. In addition, Daltrey performed at benefits in Vail, Colorado, in 1999, and attended a PETA benefit with Sarah McLachlan and Chrissie Hynde in the same year.

Daltrey appeared in in 1995 for The Children's Defense Fund, and at the Freddie Mercury Tribute Concert to benefit AIDS research in 1992.

He sang "Rock and Roll" on a charity single released as "McEnroe & Cash with The Full Metal Rackets" for Rock Aid Armenia in 1986, and performed with The Who at Live Aid in 1985 and Concert for Kampuchea in 1979. In 1976, he performed at the Celtic Football Ground in Glasgow, Scotland. An audience of 35,000 attended and a sum of over £100,000 was donated to charity. In 2005 he recorded "My Generation" with McFly, all the proceeds of which went to the Teenage Cancer Trust.

Personal life

Daltrey has been married twice. In 1964, he married the former Jacqueline "Jackie" Rickman, and had one child, born in 1965, Simon. In 1967, Daltrey's son Mathias was born, the result from an affair with Swedish model Elisabeth Aronsson [ [http://www.imdb.com/name/nm0002032/bio Roger Daltrey - Biography ] ] . The couple divorced in 1968. In 1971, he met Heather Taylor, his current wife. Together, the couple produced 3 children, Rosie Lea (born in 1972), Willow Amber (born in 1975) [ [http://brandy_and.tripod.com/oo/roghea.html Pure And Easy - The Who ] ] and Jamie (born in 1981). He also has one granddaughter, Lily.

Personal opinions

Daltrey is a fan of the music of Jack Black, Amy Winehouse, The Fratellis, Razorlight, and The Metros. [http://www.jpost.com/servlet/Satellite?cid=1215331186555&pagename=JPost%2FJPArticle%2FShowFull The Who: Nostalgic but not slowing Jerusalem Post 4 August, 2008] ]

Daltrey feels that modern technology such as downloading has made music less important to people's lives and more of a background noise.

Albums with The Who

For a full listing of Daltrey's albums with The Who, see The Who discography.

Who songs written by Daltrey

Although never a writing force in The Who and though greatly overshadowed by the songwriting talents of Townshend and Entwistle, Daltrey did contribute a small handful of songs to the band's catalogue during their career:

*"Anyway, Anyhow, Anywhere" (1965)-The Who's second single, co-written by Townshend.
*"See My Way" (1966)-Daltrey's sole contribution to "A Quick One".
*"Here for More" (1970)-B-side to "The Seeker".

Another Daltrey song, entitled "Certified Rose," was apparently rehearsed by The Who shortly before the death of John Entwistle. The band had planned on playing it (as well as Townshend's "Real Good Looking Boy") during their 2002 tour, but plans were halted after Entwistle's death. A studio version was supposedly recorded during the "Endless Wire" sessions (and may feature Entwistle's basslines from 2002.) The song has not yet been released.

"Early Morning Cold Taxi", a song recorded during "The Who Sell Out" sessions in 1967 and released in 1994 on the "Thirty Years of Maximum R n'B" boxset, is credited to Roger Daltrey and Who roadie Dave "Cy" Langston; the song was actually solely written by Langston.Fact|date=July 2008 At the time Daltrey and Langston were planning to form a writing-partnership, where all songs written by either of them would be credited as Daltrey/Langston (similar to Lennon-McCartney). The partnership did not produce any other songs (besides an unreleased demo titled "Blue Caravan.") Langston went on to play guitar on John Entwistle's first solo album, "Smash Your Head Against the Wall", in 1970.

Solo music career

Daltrey has released eight solo albums. The first was the self-titled "Daltrey" in 1973, made during a hiatus in The Who's touring schedule. The top single off the album, "Giving It All Away", reached number five in the UK and the album, which introduced Leo Sayer as a songwriter, made the Top 50 in the United States.

Daltrey's second album, "Ride a Rock Horse", was released in 1975 and is his second most commercially successful solo album. When Sayer launched his own career as an artist, Daltrey called on a widening group of friends to write for and perform on his albums. Paul McCartney contributed the new song "Giddy" to "One of the Boys", where the band included Eric Clapton, Alvin Lee and Mick Ronson.

"McVicar" was billed as a soundtrack album for the film of the same name, in which Daltrey starred and also co-produced. It featured all the other members of The Who (Townshend, Entwistle and Kenney Jones). "McVicar" included two hit singles, "Free Me" and "Without Your Love", and is Daltrey's best-selling solo recording.

The title track to "Under a Raging Moon" was a tribute to Who drummer Keith Moon, who died in 1978. Each of the album's tracks, including "Let Me Down Easy" by Bryan Adams, expresses the frustration of growing older as only a man who sang "Hope I die before I get old" can. Daltrey is credited as co-writer on "Don't Talk to Strangers," "The Pride You Hide," "Move Better in the Night" and "It Don't Satisfy Me."

On "Can't Wait to See the Movie", Daltrey is credited as co-writer on the tracks "Balance on Wires" and "Take Me Home." On "Rocks in the Head", Daltrey is credited (along with Gerard McMahon) for co-writing seven of the eleven tracks, including: "Times Changed," "You Can't Call It Love," "Love Is," "Blues Man's Road," "Days of Light," "Everything A Heart Could Ever Want" and "Unforgettable Opera." This was his first major effort as a song-writer for his own solo albums.

Daltrey celebrated his fiftieth birthday in 1994 by performing at Carnegie Hall in two shows (February 23 and 24) later issued on CD and video called "", sometimes called "Daltrey Sings Townshend", accompanied by The Juilliard Orchestra, Pete Townshend, John Entwistle, Irish dancers and other special guests. The success of these two shows led to a U.S. tour by the same name, featuring Pete Townshend's brother Simon on lead guitar with Phil Spalding taking bass duties for the first half of each show and John Entwistle playing for the second half. An Australian leg was considered but eventually scrapped.

Besides the songs Daltrey co-wrote for his solo albums, he is credited for co-writing others, including: "Child O Mine" with Gerard McMahon, used on the soundtrack for "The Banger Sisters" and on the TV show "Witchblade"; and "A Second Out" with Steve McEwan, issued on his compilation album "Moonlighting." On the soundtrack for "Lisztomania", Daltrey is credited with "Love's Dream", "Orpheus Song" and "Peace at Last."

In 2006, he wrote and performed a specially commissioned song "Highbury Highs" for the 7 May Highbury Farewell ceremony following the final football match at Arsenal Stadium between Arsenal and Wigan in which Arsenal celebrated the previous 93 years at Highbury, preparing for their move to Emirates Stadium, Ashburton Grove the following season.

Discography

olo albums

* "Daltrey", 1973, US #45
* "Ride a Rock Horse", 1975, US #28
* "Lisztomania, 1975 (soundtrack)
* "One of the Boys", 1977, US #46
* "McVicar", 1980, US #22
* "Best Bits", 1982 (compilation album)
* "Parting Should Be Painless", 1984, US #102
* "Under a Raging Moon", 1985, US #42
* "Can't Wait to See the Movie", 1987
* "Rocks in the Head", 1992
* "Martyrs & Madmen", 1997 (compilation album)
* "Moonlighting", 2005 (compilation album)

Solo hit singles

* "Giving It All Away" (#5 UK), 1973
* "I'm Free" (#13 UK), 1973
* "Without Your Love" (#20 US), 1980
* "Free Me" (#39 UK), 1980

Solo film soundtrack albums

*"The Banger Sisters" (2002)- Daltrey wrote the lyrics for and performed "Child of Mine."
*Best (2000) - Performed "House of the Rising Sun."
*Mack the Knife (1990) - Performed as the Street Singer.
*"The Secret of My Succe$s" (1987)- Performed "The Price of Love."
*"The Lost Boys" (1987) - Performed "Don't Let The Sun Go Down On Me."
*"Quicksilver" (1986)- Performed "Quicksilver Lightning."
*"McVicar" (John McVicar), 1980 - Performed the entire soundtrack, including "Bitter and Twisted", "Just a Dream Away", "White City Lights", "Free Me', "My Time Is Gonna Come", "Waiting for a Friend", "Without Your Love", "McVicar".
*"Lisztomania" (1975)- Daltrey worked with Rick Wakeman and others on the soundtrack for "Lisztomania". He wrote the lyrics for "Love's Dream", "Orpheus Song", "Peace at Last", and performed "Love's Dream", "Orpheus Song", "Funerailles" and "Peace at Last." [http://www.imdb.com/name/nm0002032/ Internet Movie Database] ]

Collaborations

In 1984, Daltrey appeared on "Bad Attitude", the title track of an album by Meat Loaf, sharing the lead vocal. In 1992, he appeared on the Chieftains' Grammy Award-winning album, "An Irish Evening: Live at the Grand Opera House". He taught a thirteen-year-old, called Jared Drake Bell, how to play the guitar in 1999. Drake later starred in "Drake and Josh" and has released two albums.

In 2001 Daltrey provided backing vocals for the title track of the Joe Strummer and The Mescaleros album "Global a Go-Go".In 2003, he provided backing vocals for thrash-metal band Anthrax on the song, "Taking the Music Back" from their album, "We've Come for You All". The collaboration came about through Anthrax guitarist Scott Ian's girlfriend,(Pearl Aday) whose mother is a friend of Daltrey and his wife. Aday is also the daughter of Meat Loaf.

In 2005, he sang on boy band McFly's cover of the Who song "My Generation" as part of an ad campaign for HMV Digital. He also released an album with the Boys Choir of Harlem in 1998 with selections from A Christmas Carol.

Film and stage career

Film roles

Daltrey's appearances in over 30 feature films include early starring roles in "Tommy", as "deaf, dumb and blind kid" Tommy Walker in 1975; "Lisztomania", as Hungarian composer Franz Liszt in 1975, and "McVicar", as British armed robber turned journalist John McVicar in 1980.

Filmography

Roger Daltrey has an extensive filmography. A sampling of his films is as follows:

* "Tommy" (Tommy Walker), 1975
* "Lisztomania" (Franz Liszt), 1975
* "The Legacy" (Clive), 1978
* "McVicar" (John McVicar), also Producer, 1980
* "The Beggar's Opera" (Macheath), 1983
* "Murder: Ultimate Grounds for Divorce", 1985
* "The Little Match Girl" (Jeb Macklin), 1987
* "Mack the Knife" (Street Singer), 1990
* "Cold Justice" (Keith Gibson), 1989
* "Buddy's Song" (Terry Clark); also Music Score Composer, Producer, 1991
* "If Looks Could Kill - Teen Agent" (Blade), 1991
* "The Freddie Mercury Tribute Concert" ,1992
* "Lightning Jack" (John T. Coles), 1994
* "", 1994
* "" 1995
* "Vampirella" (Vlad), 1996
* "Like It Is" (Kelvin), 1998
* "The Magical Legend of the Leprechauns" (King Boric), 1999
* "" (King Janos), 2000
* "Best" (Rodney Marsh), 2000
* "The Young Messiah - Messiah XXI [http://www.amazon.com/dp/B000GNOHDC] " (2000) (DVD)
* "Strange Frequency 2" (Host/Devil), 2001
* "Chasing Destiny" (Nehemiah Peoples), 2001
* ".com for Murder" (Ben), 2002
* "Johnny Was" (Jimmy Nolan), 2006

Television roles

Daltrey has played a number of television roles, including BBC Television Shakespeare, the police drama series "The Bill", the science fiction series "Sliders" as Col. Angus Rickman, the "VH1" series "Strange Frequency 2", "Witchblade" as Father Del Toro, and was a recurring guest star in "" as Immortal Hugh Fitzcairn, one of the closest friends of lead character Duncan MacLeod.

In 1986 he acted in the TV series "Buddy". He guest-starred (along with Steve Buscemi) in an episode of "Tales From The Crypt" entitled "Forever Ambergris". Daltrey appeared as a villain in a 1994 episode of "". He also played Nobby Clegg, a character named after the band Nobby Clegg and the Civilians, in the Showtime series "Rude Awakening (TV series)".

Daltrey appeared in an episode of the "The Simpsons", A Tale of Two Springfields, as himself along with John Entwistle (Pete Townshend was replaced by his brother Paul for the episode). The Who helped Homer break down a wall he had built down the center of the city.

A self-described history buff, he hosted the History Channel's "Extreme History with Roger Daltrey" in 2003. He also appeared in "That '70s Musical", the 100th episode of "That '70s Show" as Fez's musical director.

Daltrey guest starred in a November 2006 episode of "" {7/9-"Living Legend"} as Mickey Dunn, a prominent Las Vegas 1970s mob boss who returns to Las Vegas to avenge his attempted murder. The Who's music, and Daltrey's singing, provide the theme for "CSI" every week.

In 2005, Daltrey had a cameo appearance as himself in the episode "The Priest and the Beast" in Series 2 of "The Mighty Boosh". He is found by the main characters vacuuming a desert, presumably as a ' 'karmic' ' consequence of leaving Woodstock early and not helping to clean up.

Daltrey has also performed on the soundtrack of a number of films and television shows, most notably . He also appeared in the music video for "Emotion" by Barbra Streisand, although neither he nor The Who were the featured act.

tage roles

Daltrey has appeared in stage in productions including Mike Batt's "The Hunting of the Snark" in 1987 as The Barrister, and also in Batt's "Philharmania" with the Royal Philharmonic in 1998. He also appeared in "" in 1995 as the Tin Man, a BBC Radio 2 production of "Jesus Christ Superstar" in 1996 as Judas, and "A Christmas Carol" in 1998 as Scrooge. In 2003, he starred as Alfred P. Doolittle in a production of "My Fair Lady" at the Hollywood Bowl alongside John Lithgow and Melissa Errico.

Producer

In addition to his career as an actor, Daltrey has acted as producer on several films, including: "Buddy's Song" (1990), "McVicar" (1980), "Quadrophenia" (1979) and "See Me Feel Me: Keith Moon Naked for Your Pleasure" projected for release in 2009.

References

Additional references

* Geoffrey Giuliano (1996). "Behind Blue Eyes: The Life of Pete Townshend." Penguin Books, Ltd. ISBN 0-8154-1070-0
* Steve Huey, "Roger Daltrey - Biography", [http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:3ueyxdgbjolj~T1 AllMusic.com]
* David M. Barling, "Biography of Roger Daltrey", [http://www.thewho.net/roger/Index.htm/ TheWho.net]
* "Extreme History with Roger Daltrey", [http://www.historychannel.com/global/listings/castbios.jsp?ACatId=8923935&CaseId=8923933&EGrpId=8921282 The History Channel]
* Matt Kent, "Roger Appears on My Generation Cover", [http://www.petetownshend.co.uk/projects/thewho/main/diary/display.cfm?id=274&zone=news Pete Townshend/The Who]
* Audio stream Roger Daltrey King Biscuit Recording, 1985 [http://concerts.wolfgangsvault.com/dt/roger-daltrey-concert/20050360-6046.html Concert Vault]

External links

* Roger Daltrey on the [http://www.rollingstone.com/photos/gallery/5392217/1975_rolling_stone_covers/photo/8/large April 10, 1975 cover] of Rolling Stone magazine
* [http://www.wholocations.co.uk/ The Who Location Guide]
*
* [http://www.time.com/time/europe/hero/daltrey.html Roger Daltrey as a European Hero] in Time magazine
* [http://www.classicrockcentral.com/classic_rock_gimme5-Display.cfm?week=28 Roger Daltrey audio interview segments from 1982]

Источник: Roger Daltrey