An Arriva double-decker bus, running route 102 on the London Buses network.

Volvo B10M articulated bus in Chiba, Japan.

Police bus in Australia

A school bus in Kuala Lumpur.

A bus ( /ˈbʌs/; plural "buses", /ˈbʌsɨz/, archaically also big car, omnibus, multibus, or autobus) is a road vehicle designed to carry passengers. Buses can have a capacity as high as 300 passengers.^[1] The most common type of bus is the single-decker rigid bus, with larger loads carried by double-decker buses and articulated buses, and smaller loads carried by midibuses and minibuses; coaches are used for longer distance services. Bus manufacturing is increasingly globalised, with the same design appearing around the world.

Buses may be used for scheduled bus transport, scheduled coach transport, school transport, private hire, tourism; promotional buses may be used for political campaigns and others are privately operated for a wide range of purposes.

Horse drawn buses were used from the 1820s, followed by steam buses in the 1830s, and electric trolleybuses in 1882. The first buses powered by internal combustion engines were used 1895^{[citation needed]} and this is still the most common power source. Recently there has been growing interest in hybrid electric buses, fuel cell buses, electric buses as well as ones powered by compressed natural gas or bio-diesel.

Etymology[link]

Parisian Omnibus, late nineteenth century

Bus is a clipped form of the Latin word Omnibus. The latter name is derived from a hatter's shop which was situated in front of one of the first bus stations in Nantes, France in 1823. "Omnes Omnibus" was a pun on the Latin sounding name of that hatter Omnès: omnes meaning "all" and omnibus means "for all" in Latin. Nantes citizens soon gave the nickname of Omnibus to the vehicle.^[2] When motorized transport replaced horse-drawn transport starting 1905, a motorized omnibus was called an autobus, a term still used.

Another type of school bus

Types[link]

Enviro 400 in Newcastle, England

Formats include single-decker bus, double-decker bus (both usually with a rigid chassis) and articulated bus (or 'bendy-bus') the prevalence of which varies from country to country. Bi-articulated buses are also manufactured, and passenger-carrying trailers— either towed behind a rigid bus (a bus trailer), or hauled as a trailer by a truck (a trailer bus). Smaller midibus have a lower capacity and open-top bus are typically used for leisure purposes. In many new fleets, particularly in local transit systems, there is an increasing shift to low-floor buses primarily for easier accessibility. Coaches are designed for longer-distance travel and are typically fitted with individual high-backed reclining seats, seat-belts, toilets, audio-visual entertainment systems and can operate at higher speeds with more capacity for luggage. Coaches may be single- or double-deckers, articulated and often include a separate luggage compartment under the passenger floor. Guided buses are fitted with technology to allow them to run in designated guideways, allowing the controlled alignment at bus stops and less space taken up by guided lanes than conventional roads or bus lanes.

Bus manufacturing may be by a single company (an integral manufacturer), or by one manufacturer's building a bus body over a chassis produced by another manufacturer.

Design[link]

Accessibility[link]

Bus with wheelchair lift extended

Transit buses used to be mainly high-floor vehicles. However, they are now increasingly of low-floor design and optionally also 'kneel' air suspension and have electrically or hydraulically extended under-floor ramps to provide level access for wheelchair users and people with baby carriages. Prior to more general use of such technology these wheelchair users could only use specialist paratransit mobility buses.

Accessible vehicles also have wider entrances and interior gangways and space for wheelchairs. Interior fittings and destination displays may also be designed to be usable by the visually impaired. Coaches generally use wheelchair lifts instead of low floor designs. In some countries vehicles are required to have these features by disability discrimination laws.

Configuration[link]

Buses were initially configured with an engine in the front and an entrance at the rear. With the transition to one-man operation, many manufacturers moved to mid or rear-engined designs, with a single door at the front, or multiple doors. The move to the low-floor design has all but eliminated the mid-engined design, although some coaches still have mid mounted engines. Front-engined buses still persist for niche markets such as American school buses, some minibuses, and buses in less developed countries, which may be derived from truck chassis, rather than purpose-built bus designs. Most buses have two axles, articulated buses have three.

Guidance[link]

Guided buses are fitted with technology to allow them to run in designated guideways, allowing the controlled alignment at bus stops and less space taken up by guided lanes than conventional roads or bus lanes. Guidance can be mechanical, optical or electromagnetic. Guidance is often, but not exclusively, employed as part of a BRT scheme. Extensions of the guided technology include the Guided Light Transit and Translohr systems, although these are more often termed 'rubber tyred trams' as they have limited or no mobility away from their guideways.

Liveries[link]

Transit buses are normally painted to identify the operator or a route, function or to demarcate low-cost or premium service buses. Bus may be painted onto the vehicle, applied using adhesive vinyl technologies or using decals. Vehicles often also carry bus advertising or part or all of their visible surfaces (as mobile billboard). campaign buses may be decorated with key campaign messages.

Propulsion[link]

Ride On hybrid electric bus with appropriate livery

The most common power source since the 1920s has been the diesel engine. Early buses, known as trolleybus, were powered by electricity supplied from overhead lines. Nowadays, electric buses often carry their own battery, which is sometimes recharged on stops/stations in order to keep the size of the battery small/lightweight. Currently there is interest in hybrid electric buses, fuel cell buses, electric buses and ones powered by compressed natural gas or bio-diesel. Gyrobuses, which are powered by the momentum stored by a flywheel were tried in the 1940s.

Manufacture[link]

Early bus manufacturing grew out of carriage coachbuilding, and later out of automobile or truck manufacturers. Early buses were merely a bus body fitted to a truck chassis. This body+chassis approach has continued with modern specialist manufacturers, although there also exist integral designs such as the Leyland National where the two are practically inseparable. Specialist builders also exist and concentrate on building buses for special uses, or modifying standard buses into specialised products.

Integral designs have the advantages that they are have been well tested for strength, stability and so forth, and also are off-the-shelf. But there are, however, two incentives to use the chassis+body model. First it allows the buyer and manufacturer both to shop for the best deal for their needs, rather than having to settle on one fixed design— the buyer can choose the body and the chassis separately. Second it is likely that over the lifetime of a vehicle (in constant service and heavy traffic) that it will get minor damage now and again, and to be able easily to replace a body panel or window etc. can vastly increase its service life and save the cost and inconvenience of removing it from service.^{[citation needed]}

As with the rest of the automotive industry, into the 20th century bus manufacturing increasingly became globalized, with manufacturers producing buses far from their intended market to exploit labour and material cost advantages. As with the cars, new models are often exhibited by manufacturers at prestigious industry shows to gain new orders.^{[citation needed]}

Uses[link]

Public transport[link]

Public transit bus in Brooklyn, New York

Transit bus, used on public transport bus services, have utilitarian fittings designed for efficient movement of large numbers of people, and often have multiple doors. Coaches are used for longer distance routes. High capacity bus rapid transit services may use the bi-articulated bus or tram style buses such as Wright StreetCar and the Irisbus Civis.

Buses and coach services often operate to a pre-determined published public transport timetable defining the route and the timing, however smaller vehicles may be used on more flexible demand responsive transport services.

Tourism[link]

Buses play a major part in the tourism industry. Tour buses around the world allow tourists to view local attractions or scenery. These are often open-top buses, but can also be by regular bus or coach.

In local sightseeing, City Sightseeing is the largest operator of local tour buses, operating on a franchised basis all over the world. Specialist tour buses are also often owned and operated by safari parks and other theme parks or resorts. Longer distance tours are also carried out by bus, either on a turn up and go basis or through a tour operator, and usually allow disembarkation from the bus to allow touring of sites of interest on foot. These may be day trips or longer excursions incorporating hotel stays. Tour buses will often carry a tour guide, although the driver or a pre-recorded audio commentary may also perform this function. The tour operator may itself be a subsidiary of a bus operating company that operates buses and coaches for other uses, or an independent company that charters buses or coaches. Commuter transport operators may also use their coaches to conduct tours within the target city between the morning and evening commuter transport journey.

Buses and coaches are also a common component of the wider package holiday industry, providing private airport transfers (in addition to general airport buses) and organised tours and day trips for holidaymakers on the package.

Public long distance coach networks are also often used as a low-cost method of travel by students or young people travelling the world. Some companies such as Topdeck Travel were set up to specifically use buses to drive the hippie trail or travel to places like north Africa.

In many tourist or travel destinations, a bus is part of the tourist attraction, such as the North American tourist trolleys, London’s Routemaster heritage routes, or the customised buses of Malta, Asia and the Americas.

Student transport[link]

U.S. style school bus

In some countries, particularly the USA and Canada, buses used to transport school children have evolved in to a specific design with specified mandatory features. These school buses feature things such as the school bus yellow livery and crossing guards. Other countries may mandate the use of seat belts. As a minimum many countries require that a bus carrying students displays a sign, and may also adopt yellow liveries. Student transport often uses older buses cascaded from service use, retro-fitted with more seats and/or seatbelts. Student transport may be operated by local authorities or private contractors. Schools may also own and operate their own buses for other transport needs, such as class field trips, or to transport associated sports, music or other school groups.

Private charter[link]

An Example of a private bus featuring, Kuwait SC Football team bus.

Due to the costs involved in owning, operating and driving buses and coaches, many bus and coach uses a private hire of vehicles from charter bus companies, either for a day or two, or a longer contract basis, where the charter company provides the vehicles and qualified drivers. Charter bus operators may be completely independent businesses, or charter hire may be a subsidiary business of a public transport operator who might maintain a separate fleet or use surplus buses, coaches, and dual purpose coach seated buses. Many private taxicab companies also operate larger minibus vehicles to cater for group fares. Companies, private groups and social clubs may hire buses or coaches as a cost effective method of transporting a group to an event or site, such as a group meeting, racing event, or organised recreational activity such as a summer camp. Entertainment or event companies may also hire temporary shuttles buses for transport at events such as festivals or conferences. Party buses are used by companies in a similar manner to limousine hire, for luxury private transport to social events or as a touring experience. Sleeper buses are used by bands or other organisations that tour between entertainment venues and require mobile rest and recreation facilities. Some couples hire preserved buses for their wedding transport instead of the traditional car. Buses are often hired for parades or processions. Victory parades are often held for triumphant sports teams, who often tour their home town or city in an open-top bus. Sports teams may also contract out their transport to a team bus, for travel to away games, to a competition or to a final event. These buses are often specially decorated in a livery matching the team colours. Private companies often contract out private shuttle bus services, for transport of their customers or patrons, such as hotels, amusement parks, university campuses or private airport transfer services. This shuttle usage can be as transport between locations, or to and from parking lots. High specification luxury coaches are often chartered by companies for executive or VIP transport. Charter buses may also be used in Tourism and for promotion (See Tourism and Promotion sections)

Private ownership[link]

Many organisations, including the police, not for profit, social or charitable groups with a regular need for group transport may find it practical or cost-effective to own and operate a bus for their own needs. These are often minibuses for practical, tax and driver licensing reasons, although they can also be full size buses. Cadet or scout groups or other youth organizations may also own buses. Specific charities may exist to fund and operate bus transport, usually using specially modified mobility buses or otherwise accessible buses (See Accessibility section). Some use their contributions to buy vehicles, and provide volunteer drivers.

Airport operators make use of special airside airport buses for crew and passenger transport in the secure airside parts of an airport. Some public authorities, police forces and military forces make use of armoured buses where there is a special need to provide increased passenger protection. The United States Secret Service acquired two in 2010 for transporting dignitaries needing special protection.^[3] Police departments make use of police buses for a variety of reasons, such as prisoner transport, officer transport, temporary detention facilities and as command and control vehicles. Some fire departments also use a converted bus as a command post,^[4] while those in cold climates might retain a bus as a heated shelter at fire scenes.^[5] Many are drawn from retired school or service buses.

Promotion[link]

Buses are often used for advertising, political campaigning, public information campaigns, public relations or promotional purposes. These may take the form of temporary charter hire of service buses, or the temporary or permanent conversion and operation of buses, usually of second-hand buses. Extreme examples include converting the bus with displays and decorations or awnings and fittings. Interiors may be fitted out for exhibition or information purposes with special equipment and/or audio visual devices.

Bus advertising takes many forms, often as interior and exterior adverts and all-over advertising liveries. The practice often extends into the exclusive private hire and use of a bus to promote a brand or product, appearing at large public events, or touring busy streets. The bus is sometimes staffed by promotions personnel, giving out free gifts. Campaign buses are often specially decorated for a political campaign or other social awareness information campaign, designed to bring a specific message to different areas, and/or used to transport campaign personnel to local areas/meetings. Exhibition buses are often sent to public events such as fairs and festivals for purposes such as recruitment campaigns, for example by private companies or the armed forces. Complex urban planning proposals may be organised into a mobile exhibition bus for the purposes of public consultation.

Buses around the world[link]

Ryujin bus, Japan

A traditional Pakistani bus, now only found in rural areas

Historically, the types and features of buses have developed according to local needs. Buses were fitted with technology appropriate to the local climate or passenger needs, such as air conditioning in Asia, or cycle mounts on North American buses. The bus types in use around the world where there was little mass production were often sourced second hand from other countries, such as the Malta bus, and buses in use in Africa. Other countries such as Cuba required novel solutions to import restrictions, with the creation of the “camellos” (camel bus), a specially manufactured trailer bus.

After the Second World War, manufacturers in Europe and the Far East, such as Mercedes-Benz buses and Mitsubishi Fuso expanded into other continents influencing the use of buses previously served by local types. Use of buses around the world has also been influenced by colonial associations or political alliances between countries. Several of the Commonwealth nations followed the British lead and sourced buses from British manufacturers, leading to a prevalence of double-decker buses. Several Eastern Bloc countries adopted trolleybus systems, and their manufacturers such as Trolza exported trolleybuses to other friendly states.^{[citation needed]} In the 1930s Italy designed the world's only triple decker bus for the busy route between Rome and Tivoli that could carry eighty-eight passengers. It was unique not only in being a triple decker but having a separate smoking compartment on the third level.^[6]

The buses to be found in countries around the world often reflect the quality of the local road network, with high floor resilient truck based designs prevalent in several less developed countries where buses are subject to tough operating conditions. Population density also has a major impact, where dense urbanisation such as in Japan and the far east has led to the adoption of high capacity long multi-axle buses, often double-deckers, while South America and China are implementing large numbers of articulated buses for bus rapid transit schemes.

Bus expositions[link]

Euro Bus Expo is a trade show, which is held bi-annually at the UK's National Exhibition Centre in Birmingham. As the official show of the Confederation of Passenger Transport, the UK’s trade association for the bus, coach and light rail industry, the three day event offers visitors from Europe and beyond the chance to see and experience, at first hand, the very latest vehicles and product and service innovations right across the industry. The next show will be held in November 2010.^[7]

Busworld Kortrijk is the leading bus trade fair in Europe is the Busworld in Kortrijk in Belgium. It is held bi-annually, last time October 2009 and next time October 2011.

History[link]

Old bus, serving Viveiro and Lugo in Galicia, Spain.

The first known public bus line (known as a "Carriage" at that time) was launched by Blaise Pascal in 1662 and was quite popular until fares were increased and access to the service was restricted to high society members by regulation. Services ceased after 15 years^[2][8] and no further such services were known until the 1820s.^{[citation needed]} Horse buses operated in many cities during the later part of the 1800s and early 1900s with one company in London operating 220 horse-buses by 1880. The last horse bus in London stopped operation in 1914.^[9] Early horse-drawn buses were a combination of a hackney carriage and a stagecoach.^{[citation needed]}

From the 1830s steam powered buses existed. In parallel to the development of the bus was the invention of the electric trolleybus, typically fed through trolley poles by overhead wires, which actually preceded, and in many urban areas outnumbered, the conventional engine powered bus^{[citation needed]}. The first internal combustion engine buses were developed along with the automobile. After the first engine powered bus of 1895^{[citation needed]}.

The Yellow Coach Manufacturing Company which rapidly became a major manufacturer of buses was founded in Chicago in 1923 by John D. Hertz. General Motors purchased a majority stake in 1925 and changed its name to the Yellow Truck & Coach Manufacturing Company. They then purchased the balance of the shares in 1943 to form the GM Truck & Coach Division.

Models expanded in the 20th century, leading to the widespread introduction of the contemporary recognizable form of full size buses from the 1950s.

One of the most unusual buses ever built was a prop for Paramount Productions in 1935 for a movie set.^[10]

Use of retired buses[link]

Retired GM bus

Most public or private buses and coaches, once they have reached the end of their service with one or more operators, are sent to the wrecking yard for breaking up for scrap and spare parts. Some buses, while not economical to keep running as service buses, are often converted in some way for use by the operator, or another user, for purposes other than revenue earning transport. Much like old cars and trucks, buses often pass through a dealership where they can be bought for a price or at auction.

Bus operators will often find it economical to convert retired buses to use as permanent training buses for driver training, rather than taking a regular service bus out of use. Some large operators also converted retired buses into tow bus vehicles, to act as tow trucks. With the outsourcing of maintenance staff and facilities, the increase in company health and safety regulations, and the increasing curb weights of buses, many operators now contract their towing needs to a professional vehicle recovery company.

Many retired buses have been converted to static or mobile cafés, often using historic buses as a tourist attraction. Food is also provided from a catering bus, in which a bus is converted into a mobile canteen and break room. These are commonly seen at external filming locations to feed the cast and crew, and at other large events to feed staff. Some organisations adapt and operate playbuses or learning buses to provide a playground or learning environments to children who might not have access to proper play areas. An ex-London Routemaster bus has been converted to a mobile theatre and catwalk fashion show.^[11]

Some buses meet a destructive end by being entered in banger races or at demolition derbys.

Many old retired buses have also been converted into mobile holiday homes and campers.

Bus preservation[link]

Rather than being scrapped or converted for other uses, sometimes retired buses are saved for preservation. This can be done by individuals, volunteer preservation groups or charitable trusts, museums, or sometimes by the operators themselves as part of a heritage fleet. These buses often need to undergo a degree of vehicle restoration to restore them to their original condition, and will have their livery and other details such as internal notices and rollsigns restored to be authentic to a specific time in the bus's actual history. Some buses that undergo preservation are rescued from a state of great disrepair, but others enter preservation with very little wrong with them. As with other historic vehicles, many preserved buses either in a working or static state form part of the collections of transport museums. Working buses will often be exhibited at rallies and events, and they are also used as charter buses. While many preserved buses are quite old or even vintage, in some cases relatively new examples of a bus type can enter restoration. In-service examples are still in use by other operators. This often happens when a change in design or operating practice, such as the switch to one person operation or low floor technology, renders some buses redundant while still relatively new.

See also[link]

Bicycle carrier (bus mounted bike racks) Bus spotting Coach (vehicle) Dollar van

Buses portal List of fictional buses Motor bus Trackless train

Photo Gallery[link]

• 

  A colourful tour bus at Kuranda, Cairns

References[link]

•  This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). Encyclopædia Britannica (11th ed.). Cambridge University Press. 

External links[link]

Look up bus in Wiktionary, the free dictionary.

• Media related to Bus at Wikimedia Commons
• American Bus Association

vep:Avtobus

Roger Daltrey
Daltrey at the Hyde Park Live 8 concert in 2005.
Background information
Birth name	Roger Harry Daltrey
Born	(1944-03-01) 1 March 1944 (age 68) Hammersmith, London, England, UK
Genres	Rock, art rock, hard rock, power pop
Occupations	Musician, singer-songwriter, film producer, actor
Instruments	Vocals, guitar, harmonica, percussion, trombone, keyboards, cello, violin, ukulele, saxophone, bass guitar
Years active	1959–present
Labels	Various
Associated acts	The Who, The RD Crusaders, No Plan B Band, Pete Townshend
Website	www.thewho.com

Roger Harry Daltrey, CBE (born 1 March 1944), is an English singer, musician, 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 films, theatre and television roles and also producing films. In 2008 he was ranked number 61 on Rolling Stone magazine's list of the 100 greatest singers of all time.

Early life[link]

Roger Harry Daltrey was born in the Hammersmith area of London, but was brought up in Acton, the same working class suburban district 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, a cherry red Strat copy, and joined an existing skiffle band called the Detours in need of a lead singer. They told him he had to bring a guitar, and within a few weeks he showed up with it, and he could play it too.^[1] When his father bought him an Epiphone guitar in 1959, he became the lead guitarist for the band and soon afterwards 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 practising and performing nights with the band at weddings, pubs and working 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, eventually being replaced by Keith Moon.

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."^[2] 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 one single, "I'm The Face/Zoot Suit", on Fontana Records. The single was unsuccessful.

After Kit Lambert and Chris Stamp discovered the High Numbers at the Railway Hotel, the band changed their name back to the Who, since neither Lambert nor Stamp liked the name the "High Numbers".

Music career[link]

The Who years[link]

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.

The other members of the Who expelled Daltrey from the band in late 1965 after he beat up drummer Keith Moon for supplying drugs to Townshend and Entwistle, causing him to re-examine his methods of dealing with people. A week later, Daltrey was admitted back to the band, but was told he'd be on probation. He 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 during these years. 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 his signature move.

Daltrey, with microphone, and Townshend, on stage

Daltrey's Townshend-inspired 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.

By 1973, Daltrey was experiencing considerable success with his solo projects and acting roles. While others of the band worked on recording the music for Quadrophenia, Daltrey 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. 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.^[3]

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, was nominated for a Golden Globe Award for "Best Acting Debut in a Motion Picture" and appeared on the cover of Rolling Stone magazine on 10 April 1975. 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.

Daltrey, right, with Pete Townshend

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 British 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 a deterioration 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 Iron Man.

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 of the rock opera Tommy. The tour featured a large backing band and guest appearances by Steve Winwood, Patti LaBelle, Phil Collins, Elton John and Billy Idol. Although Daltrey experienced severe health problems due to an abdominal hemangioma (later removed by surgery), he managed to complete the tour. He continued to work on stage and screen during these years, completing projects such as The Wizard of Oz in Concert: Dreams Come True (1995) appearing as the Tin Woodman alongside Nathan Lane, Joel Grey, 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 50th birthday by performing a two-night spectacular at Carnegie Hall titled A Celebration: The Music of Pete Townshend and The Who, and popularly called Daltrey Sings Townshend. The show was produced by Daltrey's manager at the time, Richard Flanzer. The Who's music was arranged for orchestra by Michael Kamen, who conducted The Juilliard Orchestra for the event. Bob Ezrin, who produced Pink Floyd's The Wall CD, among other famous albums, produced the live CD. Pete Townshend, John Entwistle, Eddie Vedder (who performed a special acoustic tribute), Sinéad O'Connor, Lou Reed, David Sanborn, Alice Cooper, Linda Perry, the Chieftains and others performed as special guests. Michael Lindsay-Hogg directed the telecast, which was aired on satellite TV. The concert, at the time, was the fastest sell-out in the famed venue's history. 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 due to the expense of providing extraordinary musicians and orchestras in every city to replicate the Carnegie Hall event. Significantly, the tour did attract attention to songs from the Who's rock opera Quadrophenia and gathered support for a staging and major tour of the rock opera in 1996-97.

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 and backing vocalists were added, 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 1996-97 as the Who.

After their Quadrophenia tour was successful, the band 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. Bassist Pino Palladino was chosen to fill Entwistle's place. The band 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 the two principals Daltrey and Townshend. The band completed a world tour in 2006-07 to support this album.

In February 2010, Townshend and Daltrey, headlining as the Who, performed the halftime show at Super Bowl XLIV in front of 105.97 million viewers across the globe. In March 2010, Townshend and Daltrey, along with an extensive backing band, performed Quadrophenia at the Royal Albert Hall in London as a tenth anniversary charity benefit for the Teenage Cancer Trust. Eddie Vedder of Pearl Jam sang the part of the Godfather, and Tom Meighan of Kasabian sang the part of Aceface,^[4] and Tom Norris, London Symphony Orchestra Co-Principal Second Violin, played violin for the production.

Rock persona[link]

Daltrey singing with the Who in Hamburg, August 1972

When Colin Dawson left the Detours, Roger Daltrey took over as lead vocalist, giving up his guitar. The band as a whole acknowledged Moon and Entwistle's innovation and talent on their instruments, and Pete Townshend had begun writing hit songs, but Daltrey struggled to find a voice to present their new music. 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 he was arguably still a singer seeking a voice.

The Who first toured North America in 1967, appearing at the Monterey Pop Festival, and Daltrey brought back new experiences in dealing with larger venues and stages. 1968 proved a pivotal year with Townshend's movement beyond the quick three-minute single towards his goal of writing a rock opera. Beginning with "A Quick One (While He's Away)", a nine-minute mini-opera, 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, and in opera houses around the world during the next two years. Townshend later remarked in the film Amazing Journey, that with Tommy, and with Daltrey's adaptation to portraying the character on-stage, the singer evolved from what was essentially a tight, tough guy to one who outstretched his arms, bared his body to the audiences, and began to truly engage them. "With this change, the band was at last complete," he summed up. "It was a marriage," Townshend emphasised, "but it was a good marriage. Those were glorious years". Daltrey confirmed this, saying, he felt at last accepted, displaying a newly energetic role and sound during live performances.

Daltrey has long been known as one of the most charismatic of rock’s frontmen. According to Pete Townshend, "He almost invented the pseudo-messianic role taken up later by Jim Morrison and Robert Plant."^[5] His persona has earned him a position as one of the “gods of rock and roll”^[6] He developed a trademark move of swinging and throwing his microphone through a complex sequence, matching these sequences with the tempo of the song that was being played at the moment, although Daltrey reduced the athleticism of his performances in later years.

Musical equipment[link]

Daltrey, exuberant and confident with his role on stage. October 1976

Roger Daltrey hand-built his first guitar from a piece of plywood, and also built guitars for the band in the early days when they had little money to buy equipment.^[7] As lead guitarist for the Detours, Daltrey played a 1961 Epiphone Wilshire solidbody electric guitar which he later sold to Pete Townshend on an easy payment plan.^[8][9] After he took over vocals for the band in the 1960s and during the 1970s, Daltrey rarely played guitar on stage; however, he played a Martin acoustic guitar for appearances to promote his solo album Daltrey.^[10] He began playing guitar with the Who again during the band's tours in the 1980s, and used a Fender Esquire to play a second guitar part for the song "Eminence Front" on the Who's 1982, 1989 and later tours.^[11] During the 1989 tour, he played a Gibson Chet Atkins SST guitar for the song "Hey Joe." During the Who's 1996-97 Quadrophenia tour, Daltrey played a Gibson J-200 acoustic guitar.^[12]

After 1999, it became more common for Daltrey to play guitar during both the Who and solo shows. He ordered a Versoul Buxom 6 handmade acoustic guitar that he played on the Who's 2002 tour.^[13] Daltrey owns a Gibson Everly Brothers Flattop acoustic guitar which he played on the Who and solo tours in the late first decade of the 21st century.^[14] On his 2009 tour with No Plan B, Daltrey played Pete Townshend's "Blue, Red and Grey" on an Ashbury cutaway tenor EQ ukulele.^[15]

Roger Daltrey is known as one of the harmonica players who brought the instrument out of blues and into popular music.^[16] Although the mouth harps that Daltrey uses have varied over the years, brands he has used include Hohner and Lee Oskar harmonicas.^[17] Daltrey plays using the blues harp (2nd position) or cross harp technique which originated in blues music.

Daltrey uses Shure microphones with cords which he tapes to reinforce the connection and avoid cutting his hands when he swings and catches the microphone. He commonly uses a standard Shure SM58,^[18] but has also used Shure SM78 (in 1981), Shure model 565D Unisphere 1, and Shure model 548 Unidyne IV.^[19] Daltrey also uses a hybrid monitoring system with one in-ear monitor supplemented by floor wedges.^[20]

Who songs written by Daltrey[link]

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

• "Anyway, Anyhow, Anywhere" (1965)-The Who's second single, co-written by Townshend.
• "See My Way" (1966)-Daltrey's contribution to A Quick One.
• "Early Morning Cold Taxi" (1968)-Outtake from The Who Sell Out (later appearing as a bonus track on deluxe editions), co-written with David "Cyrano" Langston.
• "Here for More" (1970)-B-side to "The Seeker".

Daltrey also wrote a song called "Crossroads Now" for the Who which grew out of an onstage jam in 1999 after the song "My Generation."^[21] Another Daltrey song, entitled "Certified Rose," was 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.^[22] Although it was rumoured that a studio version was recorded during the Endless Wire sessions (and might feature Entwistle's basslines from 2002), Townshend later stated that no such recording was made.^[23]

"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&B boxset, is credited to Roger Daltrey and Who roadie Dave "Cy" Langston. Some sources report that the song was solely written by Langston.^[24] 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. The partnership produced only one other song—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[link]

Daltrey closing out a Trans-Siberian Orchestra concert, December 2007

Daltrey has released eight solo albums. The first was the self-titled Daltrey in 1973, recorded 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. The inner sleeve photography shows a trompe-l'œil in reference to the Narcissus myth, as Daltrey's reflection in the water differs from his real appearance. He also released a single in 1973, "Thinking" with "There is Love" on the B-side. Bizarrely, the British release, with considerable airplay of "Giving it all away" (first lines "I paid all my dues so I picked up my shoes, I got up and walked away") coincided with news reports of the Who being sued for unpaid damage to their hotel on a recent tour, including a TV set being thrown out of the window.

Daltrey's second album, Ride a Rock Horse, was released in 1975 and is his second most commercially successful solo album. Its cover, photographed by Daltrey's cousin Graham Hughes, is remarkable for depicting the singer as a rampant centaur.

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 Hank Marvin, Eric Clapton, Alvin Lee and Mick Ronson. On this cover, another visual trick is played with Daltrey's mirror image, with reference to Magritte's famous painting Reproduction Interdite.

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. On his album Rocks in the Head, Daltrey's voice ranges from a powerful bluesy growl à la Howlin' Wolf to the tender vocals shared with his daughter Willow on the ballad "Everything A Heart Could Ever Want". This was his first major effort as a song-writer for his own solo albums.

In 1992, Daltrey appeared in the Freddie Mercury Tribute Concert, singing the hard rock song "I Want It All", to pay homage to his longlife friend Freddie Mercury, who died the previous year one day after a public announcement that he suffered from AIDS.

Daltrey celebrated his fiftieth birthday in 1994 by performing at Carnegie Hall in two shows (23 and 24 February ) later issued on CD and video called A Celebration: The Music of Pete Townshend and The Who, 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.

Daltrey took on a number of other solo 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 2009, Daltrey formed a new touring band.

No Plan B/The Roger Daltrey Band[link]

Roger Daltrey embarked on a solo tour of the U.S. and Canada on 10 October 2009, officially called the "Use It or Lose It" tour with a new band that he called "No Plan B" on the Alan Titchmarsh Show.^[25] The band included Simon Townshend on rhythm guitar and vocals, Frank Simes on lead guitar, Jon Button on bass, Loren Gold on keyboards and Scott Devours on drums.^[26] Eddie Vedder made a guest appearance at the Seattle, WA show on 12 October.^[27] In 2010, Daltrey and No Plan B appeared for several dates with Eric Clapton,^[28] including Summerfest at Milwaukee, Wisconsin.^[29] The band also scheduled additional dates in 2010 without Clapton.

In 2011 the band performed the rock opera Tommy and other songs at a warm-up show in Bournemouth at the O2 Academy 19 March in preparation for a show scheduled at the Royal Albert Hall to benefit the Teenage Cancer Trust on 24 March.^[30] Pete Townshend played and sang as a guest at the TCT show. Later in 2011, the band scheduled the "Tommy Reborn" tour of the UK and Europe, followed by a tour of the US and Canada. Additional dates were booked in Europe and Australia for 2012. Downloads from the tour were made available through the Internet.

Non-Who songs written by Daltrey[link]

After his first efforts at writing songs with the Who, Daltrey wrote songs almost entirely for his solo recordings or for other projects. Daltrey first co-wrote songs for his solo albums beginning with the 1977 One of the Boys, including "The Prisoner", "Satin and Lace" and "Doing It All Again." On his 1985 album Under a Raging Moon, 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 the 1987 album Can't Wait to See the Movie, Daltrey is credited as co-writer on the tracks "Balance on Wires" and "Take Me Home." On the 1992 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." For his 2005 compilation album Moonlighting, Daltrey co-wrote the song "A Second Out" with Steve McEwan of the band UnAmerican. The recording features Daltrey's vocals backed by McEwan on acoustic guitar.

Daltrey's song-writing for other projects includes the 1975 soundtrack for Lisztomania, where he is credited with "Love's Dream", "Orpheus Song" and "Peace at Last." Daltrey also wrote "Child O Mine" with Gerard McMahon, featured on the soundtrack for The Banger Sisters and on the TV show Witchblade. In 2006, he wrote and performed a specially commissioned song, "Highbury Highs", for the Highbury Farewell ceremony following the final football match on 7 May at Highbury between Arsenal and Wigan Athletic, in which Arsenal celebrated the previous 93 years at Highbury, preparing for their move to the Emirates Stadium, Ashburton Grove, the following season.^[31]

Discography[link]

Collaborations[link]

In 1984, Daltrey appeared on "Bad Attitude", the title track of an album by Meat Loaf, sharing the lead vocal. The following year, he appeared in Barbra Streisand's music video for her single "Emotion", playing Streisand's emotionally uninterested husband.

In 1992, he appeared on the Chieftains' Grammy Award-winning album, An Irish Evening: Live at the Grand Opera House. He also released an album with the Boys Choir of Harlem in 1998 with selections from A Christmas Carol. Also in 1998, Daltrey performed two songs with the Jim Byrnes Blues Band at the Los Angeles Highlander Convention.^[32] He borrowed a guitar to play for the songs, after reassuring the owner that he would not break it. Daltrey taught thirteen-year-old Drake Bell how to play the guitar in 1999. Drake later starred in Drake and Josh and 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, daughter of Meat Loaf, whose mother was a friend of Daltrey and his wife. In 2005, Daltrey collaborated with the British pop band, McFly to sing his hit song "My Generation". On 14 and 15 December 2007, he appeared with the Trans-Siberian Orchestra at Nassau Coliseum in Uniondale, New York and Izod Arena in East Rutherford, New Jersey, performing "Behind Blue Eyes," "Pinball Wizard" and "See Me, Feel Me."

On 12 January 2009, Daltrey headlined a one-off concert along with Babyshambles at the O2 Academy Bristol for Teenage Cancer Trust. On Sunday 5 July 2009, he joined Paul Weller onstage at Hop Farm Festival in Kent for an encore of "Magic Bus".^[33] In 2011 Daltrey recorded a duet on the song "Ma seule amour" with French singer and composer Laurent Voulzy for his album Lys and Love.^[34]

Film and stage career[link]

Film roles[link]

Roger Daltrey in Boston's House of Blues in 2009

After the Who retired from active work in 1982, Daltrey developed his career in film and on the theatre stage. Daltrey's appearances in over 30 feature films include early starring roles in Tommy, as "deaf, dumb and blind boy" Tommy Walker in 1975; Lisztomania, as Hungarian composer Franz Liszt in 1975, and McVicar, as British armed-robber-turned-journalist John McVicar in 1980. Through the 1980s and 1990s, he appeared in various musicals and dramas, including The Beggar's Opera, The Comedy of Errors, The Little Match Girl, Mack the Knife and Buddy's Song.

In 1992 Daltrey appeared in The Real Story of Happy Birthday to You, a children's animation. In 2003, he starred as the voice of Argon the Dragon Bus Driver in the award-winning children's DVD called The Wheels on the Bus: Mango and Papaya's Animal Adventure from Armstrong Moving Pictures. The DVD featured Daltrey as a costumed children's dragon, who drove a bus for two lost puppets trying to return to their home at the zoo. Daltrey provided vocals for children's classics, such as "The Wheels on the Bus Go Round and Round," in addition to songs written specifically for the home video. He later appeared in two other videos for this series.

Television roles[link]

Daltrey has played a number of television roles, including BBC Television Shakespeare as both Dromios in The Comedy of Errors, the police drama series The Bill, the science fiction series Sliders as Col. Angus Rickman, the VH1 series Strange Frequency 2, Witchblade as the devil, and was a recurring guest star in Highlander: The Series as Immortal Hugh Fitzcairn, one of the closest friends of lead character Duncan MacLeod. In 1983, he played Macheath, the outlaw hero of BBC TV's production of John Gay's 1728 ballad opera, 'The Beggar's Opera'.

In 1986 he acted in the TV series Buddy. In 1993, 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 1996 episode of Lois & Clark: The New Adventures of Superman. He also played Nobby Clegg, a character named after the band Nobby Clegg and the Civilians, in the Showtime series Rude Awakening.

Daltrey appeared in an episode of 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 through the town of Springfield.

A self-described history buff, Daltrey often involves himself in history research related media including television documentaries. Pirate Tales from 1997, is a documentary/action show about the age of piracy in the 18th century, in which Daltrey impersonated English buccaneer William Dampier in a main role as the narrator throughout the series. In 2003 he hosted the History Channel's Extreme History with Roger Daltrey talking about historical events and explaining the survival techniques the civilisations treated had available. He also appeared in "That '70s Musical", the 100th episode of That '70s Show as Fez's musical director.

Daltrey guest starred in a 7 November 2006 episode of CSI: Crime Scene Investigation ("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 themes for all three of the series in the CSI franchise every week ("Who Are You" for the original show, "Won't Get Fooled Again" for CSI: Miami and "Baba O'Riley" for CSI: NY).

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. Also in 2005, he played the part of loblolly boy in the TV drama Trafalgar Surgeon.

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

Filmography[link]

Roger Daltrey has acted in advertisements, television and films, and maintains an extensive filmography. A sampling of his films and TV roles follows:^[35]

Daltrey in 2008 prior to a screening of "The Who Live At Kilburn 1977" at the ArcLight Sherman Oaks 2008

Stage roles[link]

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 Orchestra in 1998. He appeared in The Wizard of Oz in Concert: Dreams Come True in 1995 as the Tin Man. Also in 1995 he starred in a three part Bert Coules BBC radio dramatisation of the Mutiny on the Bounty novels of Charles Nordhoff and James Norman Hall, and in 1996 he starred in a BBC Radio 2 production of Jesus Christ Superstar as Judas. In 1998, Daltrey played the part of Scrooge in the Radio City Music Hall production of A Christmas Carol in New York City. 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[link]

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 an untitled Keith Moon film project in development.^[35]

Literary work[link]

Roger Daltrey contributed to a collection of childhood fishing stories published in 1996 entitled I Remember: Reflections on Fishing in Childhood.^[36] In 2009 he contributed a foreword to Anyway, Anyhow, Anywhere: The Complete Chronicle of the Who 1958-1978 by Andrew Neill and Matt Kent.^[37] In 2011, he wrote a tribute article in honor of the late Ken Russell which was published in Britain's Daily Express.^[38]

Honours and awards[link]

In 1976 Roger Daltrey was nominated for a Golden Globe Award for "Best Acting Debut in a Motion Picture" for his starring role in the film version of the Who's rock opera Tommy. He also performed as a guest on the Chieftains' recording of Irish Evening: Live at the Grand Opera House which won a Grammy Award for Best Traditional Folk Album in 1993. With the Who, Daltrey received a Grammy Lifetime Achievement Award in 2001 for outstanding artistic significance in music.

In 1990 Daltrey was inducted into the Rock and Roll Hall of Fame in Cleveland, Ohio as a member of the Who.^[39] The Rock and Roll Hall of Fame also included three songs that Daltrey recorded with the Who on the list of 500 Songs that Shaped Rock and Roll, including: "My Generation", "Go to the Mirror Boy", and "Baba O'Riley".^[40] In 2005 Daltrey received a British Academy of Songwriters, Composers and Authors Gold Badge Award for special and lasting contributions to the British entertainment industry.^[41][42]

In 2003, Daltrey was honoured by Time magazine as a European Hero for his work with the Teenage Cancer Trust and other charities.^[43] In the New Year's Honours List published on 31 December 2004, he was appointed a Commander of the Order of the British Empire for services to Music, the Entertainment Industry and Charity.^[44]

As a member of the Who, Daltrey was inducted in 2005 into the UK Music Hall of Fame.^[45] In December 2008, he and Pete Townshend were honoured with America's most prestigious cultural awards as recipients of the 31st annual Kennedy Center Honors in Washington, D.C. by then-President of the United States, George W. Bush.^[46] On 4 March 2009, three days after his 65th birthday, Daltrey accepted the James Joyce Award from the Literary and Historical Society of University College Dublin for outstanding success in the music field.^[47] On 12 March 2011, he received the Steiger Award (Germany) for excellence in music.^[48] Daltrey and Pete Townshend received the Classic Album Award for Quadrophenia from the Classic Rock Roll of Honour Awards at the Roundhouse, 9 November 2011, in London.

Charities[link]

Roger Daltrey supports many charities both as a solo artist and jointly with other members of the Who. In 1976, he performed at the Celtic Football Ground in Glasgow. An audience of 35,000 attended and a sum of over £100,000 was donated to charity. 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 Concert for Kampuchea in 1979 and Live Aid in 1985.

Daltrey appeared in The Wizard of Oz in Concert: Dreams Come True in 1995 for the Children's Defense Fund, and at the Freddie Mercury Tribute Concert to benefit AIDS research in 1992. Roger Daltrey's 1994 Celebration raised funds to support Babies and Children's Hospital in New York City, as well.

With the Who, he performed for the Robin Hood Foundation at 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.

All the Who's Encore Series profits go to young people's charities. Roger Daltrey was instrumental in starting the Teenage Cancer Trust concert series in 2000, with the Who actually playing in 2000, 2002, 2004, 2007 and 2010 and Daltrey playing solo in 2011. Daltrey played benefits with the RD Crusaders in 2003, 2004, 2006, 2008; 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. The Who played with special guest Michael J. Fox at the 2008 "A Funny Thing Happened on the Way to Cure Parkinson's" benefit.

Daltrey performed at the first ChildLine Rocks concert at London's IndigO2 on 13 March 2008.^[49] In 2009 Daltrey was a judge for the 8th annual Independent Music Awards to support independent artists.^[50][51] In the same year, he appeared again on stage with Michael J. Fox for the "A Funny Thing Happened on the Way to Cure Parkinson's" benefit. In April 2010, he headlined the Imagine A Cure II show honouring the legacy of John Lennon, which raised money for the Puget Sound Affiliate of Susan G. Komen for the Cure breast cancer charity. In 2011, Daltrey became a patron of the Children's Respite Trust for children with disabilities.^[52]

In 2011, Daltrey, Steven Tyler and Julie Andrews provided funding for Bob Langer's research at the Massachusetts Institute of Technology into vocal chord repair for victims of cancer and other disorders.^[53] On 4 November 2011, Daltrey and Pete Townshend launched the Daltrey/Townshend Teen and Young Adult Cancer Programme at the Ronald Reagan UCLA Medical Center in Los Angeles, to be funded by the Who's charity Who Cares?.^[54] The launch, followed on 5 November by a fund-raising event, was also attended by Robert Plant and Dave Grohl.^[55] Daltrey also announced that a portion of ticket sales from his solo tours would go to fund the teen cancer centres.

Throat surgeries[link]

In 1978, during the recording of the Who's album Who Are You, Daltrey had throat surgery to remove nodules after an infection.^[56] In December 2010, Daltrey was found to have developed vocal chord dysplasia and consulted Dr. Steven M. Zeitels, Director of the Massachusetts General Hospital Voice Center and professor at Harvard Medical School. Zeitels performed laser surgery to remove the possibly pre-cancerous growth.^[57] Both surgeries were considered successful.

Personal life[link]

Daltrey has been married twice. In 1964, he married the former Jacqueline "Jackie" Rickman, and had one child, born in 1964, Simon. The couple divorced in 1968. In 1967, Daltrey's son Mathias was born, the result of an affair with Swedish model Elisabeth Aronsson.^[58] In 1967, he met the American Heather Taylor, his current wife whom he married in 1971. Together, they have three children, Rosie Lea (born in 1972), Willow Amber (born in 1975)^[59] and Jamie (born in 1981). He also has four granddaughters, Lily, Lola, Ramona and Scarlet; and one grandson, Jonjo. He also has three other children from relationships during the 1960s and 1970s.^[60]

Daltrey owns a farm at Holmshurst Manor, a country estate near Burwash, Sussex, built in 1610, as well as his parents' old home in London. He designed and built Lakedown Trout Fishery near Burwash, documented in the film Underwater World of Trout, Vol. 1.^[61] He bought a home in Los Angeles in the early 2000s.

Daltrey is a supporter of Arsenal F.C..^[62]

Daltrey claims to have never tried hard drugs and unlike his band mates, has stayed straight and free from addiction problems.^[63]

Views and advocacy[link]

Daltrey is a supporter of the Countryside Alliance and has played concerts to raise funds for the organisation.^[64] Daltrey is a supporter of the Labour Party in Britain, but has been strongly critical of its policy of "mass immigration", arguing that the current immigration policies undermine the British working class. He has also expressed his admiration for Queen Elizabeth II.^[65]

Quotation[link]

This section is a candidate to be copied to Wikiquote using the Transwiki process.

We were still a bunch of rotten, dirty-boy rock 'n' rollers, but kids began identifying with our short hair and Ivy League clothes, and it just took off from there.^[66]

References[link]

Additional reading[link]

• Geoffrey Giuliano (1996). Behind Blue Eyes: The Life of Pete Townshend. Penguin Books, Ltd. ISBN 0-8154-1070-0
• Steve Huey, Roger Daltrey – Biography, AllMusic.com
• David M. Barling, Biography of Roger Daltrey, [1]

External links[link]

Wikimedia Commons has media related to: Roger Daltrey

• Official website

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