WEBVTT 00:00:00.000 --> 00:00:02.459 Welcome back to the Deep Dive. Today we are taking 00:00:02.459 --> 00:00:06.419 a deep dive into the extraordinary life and monumental 00:00:06.419 --> 00:00:10.320 career of a true rock icon, a man whose presence 00:00:10.320 --> 00:00:13.199 is as powerful as his voice. We are talking about 00:00:13.199 --> 00:00:16.179 Sir Roger Harry Daltrey. And Daltrey isn't just 00:00:16.179 --> 00:00:19.429 a singer. He is, well... To borrow a phrase, 00:00:19.609 --> 00:00:23.210 he's the primal scream of The Who. He provided 00:00:23.210 --> 00:00:26.109 the visual energy, the charisma, and that raw, 00:00:26.370 --> 00:00:29.129 often really aggressive delivery that made The 00:00:29.129 --> 00:00:31.309 Who one of the most influential rock bands of 00:00:31.309 --> 00:00:33.509 the entire 20th century. Absolutely. I mean, 00:00:33.509 --> 00:00:35.530 when you look at his career, his voice, and that 00:00:35.530 --> 00:00:38.429 undeniable stage charisma, it just cemented his 00:00:38.429 --> 00:00:40.670 place as one of the definitive gods of rock and 00:00:40.670 --> 00:00:43.130 roll. For sure. But our mission today is to move 00:00:43.130 --> 00:00:45.409 past that familiar image, you know, the curly 00:00:45.409 --> 00:00:47.890 haired front man swinging microphone cord. We're 00:00:47.890 --> 00:00:49.890 doing a comprehensive analysis of the entire 00:00:49.890 --> 00:00:52.869 man, his often brutal struggles growing up, the 00:00:52.869 --> 00:00:56.869 explosive internal band dynamics that very nearly 00:00:56.869 --> 00:00:59.929 destroyed The Who. So many times. And his surprisingly 00:00:59.929 --> 00:01:03.030 versatile career as an actor, a film producer, 00:01:03.310 --> 00:01:06.010 even an entrepreneur, and perhaps most movingly, 00:01:06.030 --> 00:01:09.590 his profound dedication to philanthropy. And 00:01:09.590 --> 00:01:12.069 the scope of his achievement. is just staggering. 00:01:12.450 --> 00:01:15.390 With The Who, the record sales alone are over 00:01:15.390 --> 00:01:18.340 100 million copies worldwide. Incredible. He 00:01:18.340 --> 00:01:20.120 was inducted into the Rock and Roll Hall of Fame 00:01:20.120 --> 00:01:22.299 way back in 1990. He got the Kennedy Center Honors 00:01:22.299 --> 00:01:25.599 with Pete Townsend in 2008. And he was ranked 00:01:25.599 --> 00:01:29.359 pretty high on Rolling Stone's list of the 100 00:01:29.359 --> 00:01:31.780 greatest singers of all time. And what truly 00:01:31.780 --> 00:01:34.620 encapsulates the full unexpected arc of his life 00:01:34.620 --> 00:01:37.840 is his most recent honor, which is just immense. 00:01:38.260 --> 00:01:40.680 The knighthood. He was appointed a Knight Bachelor 00:01:40.680 --> 00:01:45.120 in June 2025 for services to both music and charity. 00:01:45.459 --> 00:01:48.379 That title serves... Roger Daltrey. It just marries 00:01:48.379 --> 00:01:50.560 the rock god with the dedicated humanitarian. 00:01:50.959 --> 00:01:53.540 It really does. Because Daltrey's life is a master 00:01:53.540 --> 00:01:55.480 class in contradiction. We're talking about a 00:01:55.480 --> 00:01:57.379 working class boy from London who actually showed 00:01:57.379 --> 00:01:59.879 significant academic promise before he got expelled. 00:02:00.040 --> 00:02:03.000 He was the band leader who famously used his 00:02:03.000 --> 00:02:05.799 physical strength, his fists, to keep order among 00:02:05.799 --> 00:02:09.830 his famously chaotic bandmates. And yet. He is 00:02:09.830 --> 00:02:12.689 the enduring voice that managed to articulate 00:02:12.689 --> 00:02:16.229 the anger and the confusion of millions of young 00:02:16.229 --> 00:02:19.389 people across multiple generations. It's a story 00:02:19.389 --> 00:02:22.550 defined by resilience, survival, and a lot of 00:02:22.550 --> 00:02:24.710 risk. And to really understand that resilience, 00:02:24.930 --> 00:02:26.590 we have to start right at the very beginning. 00:02:26.650 --> 00:02:29.009 We have to chart the environment that forged 00:02:29.009 --> 00:02:31.550 that kind of toughness. The very start of his 00:02:31.550 --> 00:02:35.490 life was anything but quiet. Roger Daltrey was 00:02:35.490 --> 00:02:38.969 born on the 1st of March, 1944, at Hammersmith 00:02:38.969 --> 00:02:41.909 Hospital in East Acton, London. Okay. And this 00:02:41.909 --> 00:02:43.669 was during the absolute height of the Second 00:02:43.669 --> 00:02:46.669 World War. The sources note he entered the world 00:02:46.669 --> 00:02:49.069 quite literally during a German bombing raid. 00:02:49.229 --> 00:02:51.469 A truly explosive entrance. It almost sets the 00:02:51.469 --> 00:02:53.229 tone for the decades that followed, doesn't it? 00:02:53.289 --> 00:02:55.449 It really does. He is the eldest of three children, 00:02:55.569 --> 00:02:57.770 born to Harry, who was an insurance clerk, and 00:02:57.770 --> 00:03:00.400 Irene Daltrey. And because of the wartime threat, 00:03:00.599 --> 00:03:03.719 his mother and three -month -old Roger were evacuated 00:03:03.719 --> 00:03:06.400 to a farm in Scotland for safety. Wow. So you 00:03:06.400 --> 00:03:08.319 can imagine the kind of volatility of his earliest 00:03:08.319 --> 00:03:11.360 memories. Absolutely. He eventually returned 00:03:11.360 --> 00:03:13.960 to London and attended Victoria Primary School, 00:03:14.120 --> 00:03:17.159 which led to Acton County Grammar School. And 00:03:17.159 --> 00:03:19.219 this is where he first met his future bandmates, 00:03:19.419 --> 00:03:22.219 Pete Townsend and John Entwistle. And this is 00:03:22.219 --> 00:03:24.500 where that first major theme of contradiction 00:03:24.500 --> 00:03:26.919 really comes into play. Exactly. He wasn't the 00:03:26.919 --> 00:03:30.340 natural rebel yet, was he? Far from it. He showed 00:03:30.340 --> 00:03:33.460 genuine intellectual capability. He placed at 00:03:33.460 --> 00:03:36.020 the very top of his class in the 11 -plus examination, 00:03:36.419 --> 00:03:38.939 which is what secured his place at that selective 00:03:38.939 --> 00:03:41.830 grammar school. So he was, by all accounts, set 00:03:41.830 --> 00:03:44.830 up for a traditional, highly successful white 00:03:44.830 --> 00:03:47.389 -collar career, maybe even an academic one. Yeah, 00:03:47.430 --> 00:03:49.110 he had the intelligence for the conventional 00:03:49.110 --> 00:03:51.770 path, but his passion and his environment just 00:03:51.770 --> 00:03:54.270 pushed him toward the decidedly unconventional 00:03:54.270 --> 00:03:56.110 world of music. And what's amazing is how he 00:03:56.110 --> 00:03:58.330 had to invent the tools of his trade. He had 00:03:58.330 --> 00:04:00.789 to build it himself. He was incredibly resourceful. 00:04:00.870 --> 00:04:03.400 Yeah. The sources detail that he made his first 00:04:03.400 --> 00:04:07.599 guitar himself in 1957. It was a cherry red Stratocaster 00:04:07.599 --> 00:04:10.219 replica, hand -built from like a piece of plywood. 00:04:10.479 --> 00:04:14.020 This hands -on DIY ethic is just crucial to understanding 00:04:14.020 --> 00:04:17.019 Daltrey. He was always ready to physically build 00:04:17.019 --> 00:04:19.399 or manage what other people might just buy. And 00:04:19.399 --> 00:04:21.540 his father eventually came around to it. He did. 00:04:21.660 --> 00:04:24.579 He recognized the passion and bought him a proper 00:04:24.579 --> 00:04:27.600 Epiphone guitar in 1959. And with that proper 00:04:27.600 --> 00:04:30.720 instrument, he joins this nascent skiffle group 00:04:30.720 --> 00:04:33.839 called the Detours in 1959. Right. They needed 00:04:33.839 --> 00:04:36.459 a lead vocalist. But Daltrey, showing that early 00:04:36.459 --> 00:04:38.839 entrepreneurial spirit, just turns up with his 00:04:38.839 --> 00:04:41.720 guitar, secures the spot, and very quickly becomes 00:04:41.720 --> 00:04:44.439 the lead guitarist and the undeniable leader 00:04:44.439 --> 00:04:47.360 of the group. And that leadership role was exercised 00:04:47.360 --> 00:04:50.319 with what's been called an iron fist. That's 00:04:50.319 --> 00:04:52.500 a good way to put it. It became shorthand for 00:04:52.500 --> 00:04:55.120 his volatile management style. He got a reputation 00:04:55.120 --> 00:04:57.720 among his bandmates for using physical force, 00:04:57.860 --> 00:05:01.100 his actual fists, to enforce discipline and demand 00:05:01.100 --> 00:05:03.459 commitment. Townsend was pretty open about this, 00:05:03.459 --> 00:05:05.060 right? Yeah, he was famously quoted confirming 00:05:05.060 --> 00:05:07.040 this, saying if you argued with them, you usually 00:05:07.040 --> 00:05:09.300 got a bunch of fives, which means a hard punch. 00:05:09.540 --> 00:05:11.579 That sounds like a terrifying environment to 00:05:11.579 --> 00:05:14.660 work in. It does. But it clearly created some 00:05:14.660 --> 00:05:17.060 sort of order out of the group's inherent chaos. 00:05:17.600 --> 00:05:21.259 What did Daltrey say about justifying that? Well. 00:05:21.790 --> 00:05:24.250 He was pretty unapologetic about where that approach 00:05:24.250 --> 00:05:26.850 came from. He explained that this harsh discipline 00:05:26.850 --> 00:05:29.470 came directly from the tough working class neighborhood 00:05:29.470 --> 00:05:32.949 he grew up in. Right. Fighting was the recognized 00:05:32.949 --> 00:05:36.009 and often necessary mechanism for resolving disputes 00:05:36.009 --> 00:05:39.769 and for establishing boundaries. He just brought 00:05:39.769 --> 00:05:42.069 the rules of the street into the rehearsal room. 00:05:42.319 --> 00:05:44.160 And this brings us back to that crucial moment 00:05:44.160 --> 00:05:46.480 that just severed him from the conventional path, 00:05:46.680 --> 00:05:48.660 the one that set him up for a career where his 00:05:48.660 --> 00:05:50.839 street smarts, not his grammar, would be his 00:05:50.839 --> 00:05:53.939 greatest asset. The expulsion from school. It's 00:05:53.939 --> 00:05:56.019 the pivotal event. Definitely. He was thrown 00:05:56.019 --> 00:05:59.060 out, and he named his 2018 memoir, Thanks a Lot, 00:05:59.120 --> 00:06:01.800 Mr. Kipplewhite, My Story, directly after the 00:06:01.800 --> 00:06:03.959 man who expelled him. Which is such a statement. 00:06:04.220 --> 00:06:06.680 It is. Daltrey has always maintained that this 00:06:06.680 --> 00:06:09.220 wasn't a failure for him, but the moment of true 00:06:09.220 --> 00:06:12.220 liberation. It forced him to commit fully to 00:06:12.220 --> 00:06:15.079 music. Pete Townsend himself later said that 00:06:15.079 --> 00:06:17.560 until he was expelled, Roger had been a good 00:06:17.560 --> 00:06:20.579 pupil. It just shows how sharp that break was. 00:06:20.720 --> 00:06:23.620 It's a fascinating narrative reversal. The moment 00:06:23.620 --> 00:06:26.319 society kicked him out, his success was launched. 00:06:26.680 --> 00:06:30.180 He traded a secure future for a volatile, brilliant 00:06:30.180 --> 00:06:32.600 one. And just as their direction was solidifying, 00:06:32.740 --> 00:06:35.279 they hit a sort of bureaucratic snag with her 00:06:35.279 --> 00:06:39.300 name in 1964. Ah. The detours. They realized 00:06:39.300 --> 00:06:41.439 there was another band touring as the detours, 00:06:41.500 --> 00:06:44.220 so they debated options, including Townsend's 00:06:44.220 --> 00:06:46.759 rather whimsical suggestion of the hair. The 00:06:46.759 --> 00:06:50.759 hair. That's amazing. But Daltrey, ever the pragmatist, 00:06:50.860 --> 00:06:53.199 settled the matter the next day with the simple 00:06:53.199 --> 00:06:57.160 declarative line. It's the who in it. Simple. 00:06:57.180 --> 00:06:59.620 Direct. It was an unpretentious, slightly aggressive 00:06:59.620 --> 00:07:02.459 name that fit their developing identity perfectly. 00:07:02.779 --> 00:07:05.399 So once the name was set, the band's entire trajectory 00:07:05.399 --> 00:07:08.310 changed. Pete Townshend's sudden burst of creativity 00:07:08.310 --> 00:07:10.810 as a songwriter, it shifted the dynamic away 00:07:10.810 --> 00:07:12.810 from Daltrey's purely managerial leadership. 00:07:13.170 --> 00:07:15.689 That's the key transition right there. Once Townshend 00:07:15.689 --> 00:07:17.709 began writing original, hit -worthy material, 00:07:17.889 --> 00:07:20.449 especially after I Can't Explain hit in early 00:07:20.449 --> 00:07:24.069 1965, Daltrey's absolute control started to diminish. 00:07:24.310 --> 00:07:27.180 He went from leader to frontman. Exactly. He 00:07:27.180 --> 00:07:29.500 transformed from the group's undisputed leader 00:07:29.500 --> 00:07:33.160 into its irreplaceable explosive front man. But 00:07:33.160 --> 00:07:35.240 the tension that defined those early years didn't 00:07:35.240 --> 00:07:37.740 just vanish. It just shifted. And it led to that 00:07:37.740 --> 00:07:41.220 legendary immediate crisis in late 1965 when 00:07:41.220 --> 00:07:42.819 Daltrey found himself on the outside looking 00:07:42.819 --> 00:07:45.839 in. This is the major power struggle. Daltrey, 00:07:46.000 --> 00:07:48.759 kind of acting in this protective role, intervened 00:07:48.759 --> 00:07:51.620 when he discovered the drummer, Keith Moon, was 00:07:51.620 --> 00:07:54.379 providing illegal drugs to Townsend and Entwistle. 00:07:54.579 --> 00:07:56.779 And his response was typical Daltrey. Sticking 00:07:56.779 --> 00:08:00.300 to his Bunchify's ethos, yeah. He beat up Keith 00:08:00.300 --> 00:08:03.079 Moon. The consequence was severe and immediate. 00:08:03.500 --> 00:08:05.740 The rest of the band fired him. Talk about a 00:08:05.740 --> 00:08:07.500 high -stakes moment. He's trying to preserve 00:08:07.500 --> 00:08:10.040 the band's health, its future, and he gets cast 00:08:10.040 --> 00:08:13.139 out for it. How did he navigate the terrifying 00:08:13.139 --> 00:08:15.800 week? Well, he was readmitted very quickly, within 00:08:15.800 --> 00:08:18.860 a week, but it was under strict probation. He 00:08:18.860 --> 00:08:21.360 was forced to agree to stop using violence. But 00:08:21.360 --> 00:08:23.660 what's crucial here is why he came back. Right. 00:08:24.259 --> 00:08:26.759 That week outside the band was a stark reminder 00:08:26.759 --> 00:08:29.839 of his past and that conventional path he'd escaped. 00:08:30.420 --> 00:08:32.860 He confessed that the immediate fear was realizing. 00:08:33.639 --> 00:08:36.620 I thought if I lost the band, I was dead. If 00:08:36.620 --> 00:08:38.700 I didn't stick with The Who, I would be a sheet 00:08:38.700 --> 00:08:40.889 metal worker for the rest of my life. That quote 00:08:40.889 --> 00:08:43.110 perfectly illustrates the motivational difference 00:08:43.110 --> 00:08:45.750 between him and Townsend. Townsend was driven 00:08:45.750 --> 00:08:48.549 by artistic vision. Daltrey was driven by this 00:08:48.549 --> 00:08:51.490 deep working class fear of sinking back into 00:08:51.490 --> 00:08:54.750 anonymity and manual labor. The states for him 00:08:54.750 --> 00:08:57.129 were existential. Completely. And once he made 00:08:57.129 --> 00:08:59.610 that commitment, he dedicated himself fully to 00:08:59.610 --> 00:09:02.230 defining the band's sonic and visual identity. 00:09:02.720 --> 00:09:05.220 He cemented his place as the quintessential rock 00:09:05.220 --> 00:09:07.840 frontman, providing that aggressive, energetic 00:09:07.840 --> 00:09:10.440 delivery that perfectly mirrored Townsend's songs. 00:09:10.639 --> 00:09:12.919 And nothing captured that rebellious energy like 00:09:12.919 --> 00:09:15.379 my generation. That song is still revolutionary. 00:09:16.240 --> 00:09:18.620 Daunter's performance, with that famous stuttering 00:09:18.620 --> 00:09:20.980 expression, it perfectly encapsulated the anger, 00:09:21.120 --> 00:09:24.139 the frustration, and the arrogance of 1960s youth. 00:09:24.159 --> 00:09:26.139 It wasn't just singing. No, it was a physical 00:09:26.139 --> 00:09:28.240 and verbal manifestation of youthful rebellion. 00:09:28.669 --> 00:09:31.690 So if my generation defined their energy, his 00:09:31.690 --> 00:09:34.149 performance in Won't Get Fooled Again defined 00:09:34.149 --> 00:09:36.789 his vocal power. Oh, the scream near the end 00:09:36.789 --> 00:09:39.889 of that track. It's just seismic. It's not merely 00:09:39.889 --> 00:09:42.269 a high note. It's an almost non -human sound 00:09:42.269 --> 00:09:45.649 of pure, unadulterated, cathartic release. It's 00:09:45.649 --> 00:09:48.409 cited all the time. And it should be. It's one 00:09:48.409 --> 00:09:50.610 of the most defining, crucial vocal moments in 00:09:50.610 --> 00:09:53.750 the entire rock and roll canon. It cemented his 00:09:53.750 --> 00:09:56.710 legacy as the voice of a generation's fury. And 00:09:56.710 --> 00:09:59.289 visually, he had the stagecraft to match that 00:09:59.289 --> 00:10:02.429 powerful voice. His signature move swinging the 00:10:02.429 --> 00:10:05.169 microphone around by its cord became as iconic 00:10:05.169 --> 00:10:07.649 as Townsend's windmill guitar attack. It was 00:10:07.649 --> 00:10:10.399 aggressive. visually theatrical, and it captured 00:10:10.399 --> 00:10:12.580 the band's chaos, but it was also incredibly 00:10:12.580 --> 00:10:15.639 precise. Right. It was this complex choreographed 00:10:15.639 --> 00:10:17.799 sequence of swinging and throwing the microphone 00:10:17.799 --> 00:10:21.860 all timed meticulously to the song's tempo. We 00:10:21.860 --> 00:10:23.580 could delve into the technical side of that move 00:10:23.580 --> 00:10:25.600 later, but it was a crucial part of his whole 00:10:25.600 --> 00:10:28.200 persona. No, despite all the success, that tension 00:10:28.200 --> 00:10:30.600 between Daltrey, the pragmatist, the financial 00:10:30.600 --> 00:10:33.419 realist, and Townsend, the volatile genius, it 00:10:33.419 --> 00:10:35.500 didn't just go away. Not at all. It came to a 00:10:35.500 --> 00:10:37.480 really dramatic head again during the recording 00:10:37.480 --> 00:10:41.019 of the landmark album Quadrophenia in 1973. The 00:10:41.019 --> 00:10:44.399 conflict was rooted in control and money. By 00:10:44.399 --> 00:10:46.779 this point, Daltrey had started his successful 00:10:46.779 --> 00:10:49.840 solo and acting career, which gave him a broader, 00:10:49.940 --> 00:10:52.399 more business -oriented perspective. So he started 00:10:52.399 --> 00:10:54.500 looking at the books. He took it upon himself 00:10:54.500 --> 00:10:57.120 to examine the Who's financial books, and he 00:10:57.120 --> 00:10:59.120 discovered they were in severe disarray under 00:10:59.120 --> 00:11:01.299 the longstanding management of Kit Lambert and 00:11:01.299 --> 00:11:03.809 Chris Stamp. Which was a direct challenge to 00:11:03.809 --> 00:11:06.710 Townsend, who was fiercely loyal to Lambert as 00:11:06.710 --> 00:11:09.250 his artistic mentor. That must have created a 00:11:09.250 --> 00:11:12.710 serious rift. It did. And that financial tension 00:11:12.710 --> 00:11:15.730 just boiled over during a filming session. Daltrey 00:11:15.730 --> 00:11:17.909 and Townsend started arguing fiercely over the 00:11:17.909 --> 00:11:20.490 shooting schedule. The argument escalated dramatically, 00:11:20.789 --> 00:11:23.309 and Townsend, using his instrument as a weapon, 00:11:23.490 --> 00:11:25.860 hit Daltrey over the head with his guitar. And 00:11:25.860 --> 00:11:28.679 Daltrey's response was characteristically direct 00:11:28.679 --> 00:11:31.879 and physical. He responded instantly, knocked 00:11:31.879 --> 00:11:34.100 Townsend unconscious with a single blow. And 00:11:34.100 --> 00:11:36.759 this incident, while clearly violent, demonstrated 00:11:36.759 --> 00:11:39.820 a critical point. While Daltrey had willingly 00:11:39.820 --> 00:11:43.320 ceded artistic dominance to Townshend, he absolutely 00:11:43.320 --> 00:11:45.960 would not be physically or managerially intimidated. 00:11:46.600 --> 00:11:48.879 It was the pragmatist shutting down the genius's 00:11:48.879 --> 00:11:52.200 rage. And yet, despite all this internal warfare 00:11:52.200 --> 00:11:55.500 and volatility, the 1970s marked Daltrey's peak 00:11:55.500 --> 00:11:59.019 as the iconic face and voice of the rock opera 00:11:59.019 --> 00:12:02.299 era, starring in Tommy, Who's Next, and Quadrophenia. 00:12:02.460 --> 00:12:06.220 His look, the long curly hair, the open shirt, 00:12:06.340 --> 00:12:09.340 and his performance were just utterly inseparable 00:12:09.340 --> 00:12:12.120 from these milestone albums. This fame was amplified 00:12:12.120 --> 00:12:15.159 in 1975 when Ken Russell adapted Tommy into a... 00:12:15.370 --> 00:12:17.889 major feature film. And Daltrey played the lead, 00:12:18.049 --> 00:12:20.370 Tommy Walker. He did. And his performance was 00:12:20.370 --> 00:12:22.970 critically recognized way beyond the rock world. 00:12:23.149 --> 00:12:25.269 He earned a Golden Globe nomination for Best 00:12:25.269 --> 00:12:27.570 Acting Debut in a Motion Picture. And he got 00:12:27.570 --> 00:12:29.649 that coveted cover of Rolling Stone magazine 00:12:29.649 --> 00:12:32.149 in April 75, which really proved his ability 00:12:32.149 --> 00:12:35.210 to transcend music into serious acting. He didn't 00:12:35.210 --> 00:12:37.230 waste any time either. He immediately followed 00:12:37.230 --> 00:12:39.070 that up with another high -profile acting role. 00:12:39.129 --> 00:12:41.049 Another collaboration with Russell. That's right. 00:12:41.149 --> 00:12:43.690 He starred as the 19th century composer Franz 00:12:43.690 --> 00:12:46.710 Liszt in the film Lisztomania. He worked alongside 00:12:46.710 --> 00:12:49.330 Rick Wakeman on the soundtrack, which just showcased 00:12:49.330 --> 00:12:51.309 his versatility and willingness to take dramatic 00:12:51.309 --> 00:12:54.110 risks outside the strict rock genre. But the 00:12:54.110 --> 00:12:56.529 core band dynamics changed forever with the tragic 00:12:56.529 --> 00:12:59.789 death of Keith Moon in 1978. While The Who tried 00:12:59.789 --> 00:13:02.789 to continue, the magic had clearly shifted. Daltrey 00:13:02.789 --> 00:13:04.850 was openly unhappy with the choice of the new 00:13:04.850 --> 00:13:07.940 drummer, Kenny Jones. The band eventually ceased 00:13:07.940 --> 00:13:10.960 touring in 1983 because Townsend admitted he 00:13:10.960 --> 00:13:13.360 just could no longer find the inspiration to 00:13:13.360 --> 00:13:15.879 write material specifically for The Who in its 00:13:15.879 --> 00:13:18.419 current form. But rock legends, especially The 00:13:18.419 --> 00:13:21.019 Who, they don't stay dead for long. They stage 00:13:21.019 --> 00:13:24.320 several huge successful reunions, often highlighting 00:13:24.320 --> 00:13:27.059 Daltrey's sheer physical resilience in the process. 00:13:27.379 --> 00:13:30.720 The 1989 25th Anniversary Tour. Celebrating Tommy 00:13:30.720 --> 00:13:33.480 was massive, just huge in scale. They employed 00:13:33.480 --> 00:13:35.860 a large backing band and featured a whole constellation 00:13:35.860 --> 00:13:38.600 of guest stars. Steve Winwood, Patti LaBelle, 00:13:38.740 --> 00:13:41.639 Phil Collins, Elton John, Billy Idol. A huge 00:13:41.639 --> 00:13:44.379 undertaking. And what's incredible is that Daltrey 00:13:44.379 --> 00:13:47.259 completed that physically grueling tour despite 00:13:47.259 --> 00:13:49.399 suffering from an abdominal ailment that was 00:13:49.399 --> 00:13:52.559 so severe it required surgery immediately afterward. 00:13:53.080 --> 00:13:55.299 He played through agonizing pain for millions 00:13:55.299 --> 00:13:58.179 of people. And that dedication continued during 00:13:58.179 --> 00:14:01.419 the 1996 Quadrophenia production for the Prince's 00:14:01.419 --> 00:14:04.039 Trust concert. This is an anecdote that just 00:14:04.039 --> 00:14:06.799 defines his tough guy image. It sounds like something 00:14:06.799 --> 00:14:09.700 out of a rock melodrama, honestly. The night 00:14:09.700 --> 00:14:12.120 before the show, Daltrey was standing backstage 00:14:12.120 --> 00:14:14.759 when he was struck in the face by a microphone 00:14:14.759 --> 00:14:17.559 stand swung by fellow performer Gary Glitter. 00:14:17.700 --> 00:14:20.740 And it was a serious injury. The impact fractured 00:14:20.740 --> 00:14:23.450 Daltrey's eye socket. There was genuine medical 00:14:23.450 --> 00:14:25.889 concern about his ability to perform. And yet 00:14:25.889 --> 00:14:29.629 he went on stage. He did. Daltrey, demonstrating 00:14:29.629 --> 00:14:32.029 his characteristic toughness, just covered the 00:14:32.029 --> 00:14:33.750 severe bruising with an eye patch and performed 00:14:33.750 --> 00:14:36.429 the entire show as scheduled. Incredible. Townsend 00:14:36.429 --> 00:14:38.090 was so impressed by this display of commitment 00:14:38.090 --> 00:14:40.230 that the momentum carried them forward, and they 00:14:40.230 --> 00:14:42.490 took the production on the road as The Who in 00:14:42.490 --> 00:14:46.190 1996 -97. It's hard to imagine a clearer example 00:14:46.190 --> 00:14:48.710 of the show must go on. Their resilience was 00:14:48.710 --> 00:14:51.750 tested again in 2002 with the devastating loss 00:14:51.750 --> 00:14:54.750 of bassist John Entwistle right as they were 00:14:54.750 --> 00:14:57.230 about to start a major tour. It was heartbreaking. 00:14:57.710 --> 00:15:00.149 But Daltrey and Townsend chose to proceed with 00:15:00.149 --> 00:15:02.870 the planned tour. bringing in the talented Pino 00:15:02.870 --> 00:15:05.389 Palladino to fill N -Whistle's massive shoes. 00:15:05.629 --> 00:15:08.190 That ability to weather tragedy and keep performing, 00:15:08.429 --> 00:15:10.529 it speaks volumes about their shared commitment 00:15:10.529 --> 00:15:13.309 to the band's legacy. And that resilience stretched 00:15:13.309 --> 00:15:15.990 right into the 21st century with New Material. 00:15:16.350 --> 00:15:19.889 They released Endless Wire in 2006, their first 00:15:19.889 --> 00:15:23.409 studio album of New Material in 24 years. And 00:15:23.409 --> 00:15:25.549 the production of that album reportedly amplified 00:15:25.549 --> 00:15:27.870 the continued artistic tension between the two 00:15:27.870 --> 00:15:29.950 of them. But they pushed through to deliver a 00:15:29.950 --> 00:15:32.049 major win. work. And they capped off that era 00:15:32.049 --> 00:15:34.110 with one of the biggest platforms imaginable. 00:15:34.210 --> 00:15:36.929 Headlining the Super Bowl XL4 halftime show in 00:15:36.929 --> 00:15:39.889 2010, they played to an estimated global audience 00:15:39.889 --> 00:15:43.629 of over 105 million viewers. It was a massive, 00:15:43.730 --> 00:15:46.649 iconic victory lap for a band that had endured 00:15:46.649 --> 00:15:49.669 firings, fights, lawsuits and the deaths of two 00:15:49.669 --> 00:15:52.190 of its original members. Now, while all this 00:15:52.190 --> 00:15:55.129 drama was unfolding within The Who. Daltrey was 00:15:55.129 --> 00:15:57.710 carefully cultivating a thriving career outside 00:15:57.710 --> 00:16:00.769 of the band, starting almost as soon as he returned 00:16:00.769 --> 00:16:05.230 from that firing in 1965. Let's explore his versatile 00:16:05.230 --> 00:16:07.929 solo career. Daltrey's solo career officially 00:16:07.929 --> 00:16:11.230 launched in 1973, and it was strategically timed 00:16:11.230 --> 00:16:13.970 during a hiatus in The Who's touring schedule. 00:16:14.440 --> 00:16:16.700 It was a crucial move to solidify his identity 00:16:16.700 --> 00:16:19.519 as a solo artist, independent of Pete Townsend's 00:16:19.519 --> 00:16:22.340 songwriting genius. And his debut album, titled 00:16:22.340 --> 00:16:25.799 Simply Daltry, was an immediate success. It wasn't 00:16:25.799 --> 00:16:28.399 just about his voice either. He was also instrumental 00:16:28.399 --> 00:16:30.539 in launching the careers of others. Right. He 00:16:30.539 --> 00:16:32.860 introduced the songwriting talents of Leo Sayre 00:16:32.860 --> 00:16:34.960 and David Courtney. Who would go on to have major 00:16:34.960 --> 00:16:37.460 careers themselves. The album's best -selling 00:16:37.460 --> 00:16:40.200 single, Giving It All Away, reached number five 00:16:40.200 --> 00:16:42.620 in the UK and propelled the album into the US 00:16:42.620 --> 00:16:45.240 top 50. It proved Daltrey's star power could 00:16:45.240 --> 00:16:47.360 translate without relying on the Who's engine. 00:16:47.559 --> 00:16:49.480 And I want to spend a moment on the visual aspect 00:16:49.480 --> 00:16:51.820 of that album because it speaks volumes about 00:16:51.820 --> 00:16:54.120 the themes of identity he was exploring at the 00:16:54.120 --> 00:16:56.440 time. You're referring to the inner -sleeve photography. 00:16:56.960 --> 00:17:00.259 It was highly conceptual. It used a visual trickery 00:17:00.259 --> 00:17:02.080 technique known as trompe -l 'oeil. Uh -huh. 00:17:02.399 --> 00:17:05.480 The photographs depicted Daltrey with his reflection 00:17:05.480 --> 00:17:08.279 in the water appearing altered, which was a reference 00:17:08.279 --> 00:17:10.880 to the narcissist myth. So an intentional visual 00:17:10.880 --> 00:17:13.880 statement about identity, perception, maybe even 00:17:13.880 --> 00:17:16.519 narcissism. Exactly. Playing on the front man's 00:17:16.519 --> 00:17:19.460 necessary ego while acknowledging the complexity 00:17:19.460 --> 00:17:22.660 of the man beneath the rock star image. And the 00:17:22.660 --> 00:17:25.299 timing of the album's release created a truly 00:17:25.299 --> 00:17:27.700 perfect narrative moment for him. It was pure 00:17:27.700 --> 00:17:31.119 accidental genius. Right. The British release 00:17:31.119 --> 00:17:34.299 of the single Giving It All Away featured these 00:17:34.299 --> 00:17:37.160 highly poignant opening lyrics, I paid all my 00:17:37.160 --> 00:17:39.160 dues, so I picked up my shoes, I got up and walked 00:17:39.160 --> 00:17:42.640 away. And simultaneously. Simultaneously, newspaper 00:17:42.640 --> 00:17:44.920 reports were saturated with stories about The 00:17:44.920 --> 00:17:47.579 Who being sued for extensive unpaid hotel damages 00:17:47.579 --> 00:17:50.079 from a recent tour, including that famous anecdote 00:17:50.079 --> 00:17:52.380 about a TV set being thrown out a window. So 00:17:52.380 --> 00:17:54.619 the public sees the news of The Who's destruction, 00:17:54.819 --> 00:17:58.160 and hears Daltrey singing about having Paid all 00:17:58.160 --> 00:18:01.680 my dues and walking away clean. He was marketing 00:18:01.680 --> 00:18:04.240 his persona as the sensible one who had managed 00:18:04.240 --> 00:18:06.700 to escape the chaos. It was a perfect separation 00:18:06.700 --> 00:18:09.099 of narrative. It allowed him to be perceived 00:18:09.099 --> 00:18:12.039 as the pragmatist, the one who wasn't caught 00:18:12.039 --> 00:18:14.799 up in the destructive chaos of the band. Plus, 00:18:14.980 --> 00:18:18.420 that debut album also featured a very high -profile 00:18:18.420 --> 00:18:21.059 collaborator. Jimmy Page. The legendary Jimmy 00:18:21.059 --> 00:18:24.839 Page of Led Zeppelin on guitar for his 1973 single 00:18:24.839 --> 00:18:27.910 Thinking. His solo output continued steadily, 00:18:28.089 --> 00:18:30.630 and by his third album, One of the Boys in 77, 00:18:31.170 --> 00:18:34.049 he was flexing his networking muscles. He assembled 00:18:34.049 --> 00:18:36.670 a veritable summit of rock legends. Yeah, since 00:18:36.670 --> 00:18:39.109 his initial songwriter, Leo Sayre, had launched 00:18:39.109 --> 00:18:41.970 his own successful singing career, Daltrey showcased 00:18:41.970 --> 00:18:43.990 his own status by inviting a host of friends. 00:18:44.559 --> 00:18:46.500 Paul McCartney contributed a brand new song, 00:18:46.660 --> 00:18:49.460 Giddy, specifically for the album. Wow. And the 00:18:49.460 --> 00:18:51.319 backing band featured an incredible collection 00:18:51.319 --> 00:18:53.940 of talent. Hank Marvin of the Shadows, Eric Clapton, 00:18:54.039 --> 00:18:56.420 Alvin Lee, Mick Ronson, and showing his ability 00:18:56.420 --> 00:18:58.500 to bridge his work, John Entwistle from The Who. 00:18:58.619 --> 00:19:01.119 So that lineup signaled that Daltrey was viewed 00:19:01.119 --> 00:19:04.240 as a peer by these giants of music, not just 00:19:04.240 --> 00:19:07.039 as Townsend's vocalist. Absolutely. His biggest 00:19:07.039 --> 00:19:09.559 solo success, however, was tightly tied to his 00:19:09.559 --> 00:19:12.099 burgeoning film career. That would be the 1980 00:19:12.099 --> 00:19:14.819 soundtrack album, Mick Vicar. Daltrey starred 00:19:14.819 --> 00:19:17.319 in and co -produced the film about the real -life 00:19:17.319 --> 00:19:20.440 English bank robber John McVicker. A role that 00:19:20.440 --> 00:19:23.039 played perfectly into Daltrey's tough, working 00:19:23.039 --> 00:19:26.039 -class street image. It really did. And the music 00:19:26.039 --> 00:19:27.700 for the soundtrack was recorded by a special 00:19:27.700 --> 00:19:29.799 band featuring all the current members of the 00:19:29.799 --> 00:19:32.980 Who Townsend, Entwistle, and Kenny Jones. It 00:19:32.980 --> 00:19:35.299 yielded his best -selling solo recording, the 00:19:35.299 --> 00:19:37.900 hit single Without Your Love, alongside Free 00:19:37.900 --> 00:19:41.240 Me. After The Who broke up in 1983, his next 00:19:41.240 --> 00:19:43.619 album seemed to serve as a form of musical therapy. 00:19:43.980 --> 00:19:46.440 Parting Should Be Painless from 1984 was not 00:19:46.440 --> 00:19:48.680 a commercial success. It got negative reviews, 00:19:49.079 --> 00:19:51.740 sold poorly, but it was critical for Daltrey's 00:19:51.740 --> 00:19:54.700 personal catharsis. He used it to vent his frustration 00:19:54.700 --> 00:19:57.640 over the split. Exactly. He assembled a track 00:19:57.640 --> 00:20:00.680 list of roughly autobiographical songs, including 00:20:00.680 --> 00:20:03.869 covers of Brian Ferry and the Eurythmics. Daltrey 00:20:03.869 --> 00:20:06.029 himself later reflected that this album allowed 00:20:06.029 --> 00:20:08.650 him to explore musical directions he deeply wished 00:20:08.650 --> 00:20:11.710 The Who had pursued. It sounds like a necessary 00:20:11.710 --> 00:20:15.549 creative release. Moving on, he honored his fallen 00:20:15.549 --> 00:20:18.029 bandmate, Keith Moon, the subject of that infamous 00:20:18.029 --> 00:20:21.529 fight years earlier. His 1985 album, Under a 00:20:21.529 --> 00:20:24.369 Raging Moon, featured a powerful title track 00:20:24.369 --> 00:20:26.690 that served as a dedicated tribute to Keith Moon, 00:20:26.890 --> 00:20:28.849 who had passed away seven years prior. And he's 00:20:28.849 --> 00:20:31.250 still working prolifically. He is. He recently 00:20:31.250 --> 00:20:33.849 released his 10th solo studio album in 2018, 00:20:34.269 --> 00:20:36.309 As Long As I Have You, which included a more 00:20:36.309 --> 00:20:38.650 recent recording of his song, Certified Woes, 00:20:38.769 --> 00:20:41.309 a track The Who had actually been rehearsing 00:20:41.309 --> 00:20:44.019 just before N -Whistle's death. He also curated 00:20:44.019 --> 00:20:46.660 a massive retrospective celebration for his 50th 00:20:46.660 --> 00:20:50.279 birthday. In 1994, yeah. He performed two hugely 00:20:50.279 --> 00:20:52.420 successful shows at Carnegie Hall in New York, 00:20:52.539 --> 00:20:55.079 focusing entirely on the music of Pete Townshend 00:20:55.079 --> 00:20:57.920 and The Who. And that concert, released as Daltrey 00:20:57.920 --> 00:20:59.900 Sings Townshend, was another family collaboration. 00:21:00.400 --> 00:21:03.740 It was. The backing band included Pete Townshend's 00:21:03.740 --> 00:21:06.519 brother Simon, and John Entwistle joined in for 00:21:06.519 --> 00:21:09.079 the second half of both shows. It really showed 00:21:09.079 --> 00:21:11.279 his respect for the material he helped make famous. 00:21:11.440 --> 00:21:14.279 And his list of collaborations is long, suggesting 00:21:14.279 --> 00:21:16.859 he never stopped seeking new creative experiences, 00:21:17.259 --> 00:21:19.660 including moving outside the realm of classic 00:21:19.660 --> 00:21:22.880 rock. His versatility is remarkable. He performed 00:21:22.880 --> 00:21:25.940 with the Jim Burns Blues Band in 1998, played 00:21:25.940 --> 00:21:27.940 a one -off concert with Baby Shambles for the 00:21:27.940 --> 00:21:30.880 Teenage Cancer Trust in 2009, and joined Paul 00:21:30.880 --> 00:21:33.519 Weller on stage later that year. And demonstrating 00:21:33.519 --> 00:21:36.180 his adventurous spirit, he even moved into French 00:21:36.180 --> 00:21:39.440 popular music. The French duet. Yes. In 2011, 00:21:39.700 --> 00:21:42.460 Daltrey recorded a duet called Masseur L 'Amour 00:21:42.460 --> 00:21:45.380 with French singer and composer Laurent Volzi 00:21:45.380 --> 00:21:48.160 for his album Lise in Love. But perhaps the most 00:21:48.160 --> 00:21:50.259 delightful example of his approachability and 00:21:50.259 --> 00:21:52.400 dedication to music is that wedding anecdote. 00:21:52.500 --> 00:21:54.759 The one where he gave the ultimate rock and roll 00:21:54.759 --> 00:21:57.720 surprise. That's the one. In 2014. While staying 00:21:57.720 --> 00:21:59.980 at the Marhall Hotel in Scotland ahead of a Who 00:21:59.980 --> 00:22:02.319 gig, she just walked into a wedding reception, 00:22:02.640 --> 00:22:05.599 joined the local band called Milestone, and performed 00:22:05.599 --> 00:22:09.039 an impromptu rendition of I Can't Explain. Imagine 00:22:09.039 --> 00:22:11.539 being a guest at that wedding. It's a story that 00:22:11.539 --> 00:22:13.579 just epitomizes his commitment to performance, 00:22:13.819 --> 00:22:16.440 even on his time off. And his continuing dedication 00:22:16.440 --> 00:22:19.119 to touring led to the formation of a dedicated 00:22:19.119 --> 00:22:23.019 solo outfit. No Plan B. In 2009, he established 00:22:23.019 --> 00:22:25.779 his touring band for the Use It or Lose It Tour, 00:22:25.960 --> 00:22:29.980 which he very aptly named No Plan B. The name 00:22:29.980 --> 00:22:32.019 itself is a statement about his singular focus. 00:22:32.259 --> 00:22:35.119 That band included Simon Townsend, Frank Symes, 00:22:35.299 --> 00:22:38.299 John Button, Lauren Gold and Scott Devours. And 00:22:38.299 --> 00:22:40.420 they continue to tour extensively, confirming 00:22:40.420 --> 00:22:42.660 Daltrey's status as a perpetual road warrior. 00:22:42.859 --> 00:22:45.000 When we look at Daltrey's overall cultural impact, 00:22:45.240 --> 00:22:47.579 it extends far beyond the charts. He essentially 00:22:47.579 --> 00:22:50.180 defined the very role of the rock frontman. He 00:22:50.180 --> 00:22:52.400 created a template for generations that followed. 00:22:52.660 --> 00:22:55.119 Pete Townsend himself recognized this massive 00:22:55.119 --> 00:22:58.039 contribution. Townsend once stated that Daltrey 00:22:58.460 --> 00:23:01.359 almost invented the pseudo -messianic role taken 00:23:01.359 --> 00:23:04.059 up later by Jim Morrison of The Doors and Robert 00:23:04.059 --> 00:23:07.339 Plant of Led Zeppelin. That commanding, theatrical, 00:23:07.799 --> 00:23:10.960 almost godlike presence on stage, the visual 00:23:10.960 --> 00:23:14.000 focus of the band's destructive energy, that's 00:23:14.000 --> 00:23:16.500 a persona Daltrey pioneered. Let's peel back 00:23:16.500 --> 00:23:18.940 the layers on that stagecraft, specifically his 00:23:18.940 --> 00:23:21.619 trademark microphone swing. It looked chaotic, 00:23:21.799 --> 00:23:24.240 but it was surprisingly complex engineering and 00:23:24.240 --> 00:23:26.680 timing. It was highly calculated. It involved 00:23:26.680 --> 00:23:28.519 a complex sequence of swinging the microphone 00:23:28.519 --> 00:23:30.400 around his head and then throwing and catching 00:23:30.400 --> 00:23:33.039 it, all precisely synchronized to the song's 00:23:33.039 --> 00:23:35.200 beat and energy. And to do this safely and reliably. 00:23:35.849 --> 00:23:38.349 He needed specific equipment. He did. He utilized 00:23:38.349 --> 00:23:41.029 specific Shure microphones models like the standard 00:23:41.029 --> 00:23:45.589 SM58, the 565D Unisphere 1, and the 548 unit 00:23:45.589 --> 00:23:47.470 on the feet. The technical detail that always 00:23:47.470 --> 00:23:49.829 fascinated me was the necessity of the taping. 00:23:49.829 --> 00:23:51.930 It sounds so simple, but it was a crucial safety 00:23:51.930 --> 00:23:54.430 measure. It was an essential piece of stage engineering. 00:23:55.230 --> 00:23:57.589 The taping of the microphone cord served two 00:23:57.589 --> 00:24:00.750 vital functions. First, it reinforced the connection 00:24:00.750 --> 00:24:02.710 point between the heavy mic head and the fragile 00:24:02.710 --> 00:24:05.579 cable. preventing electrical failure or the cord 00:24:05.579 --> 00:24:07.500 snapping mid -swing, which could have been disastrous. 00:24:07.740 --> 00:24:10.420 And perhaps more importantly, the tape protected 00:24:10.420 --> 00:24:13.160 his hands. When he caught the cord, especially 00:24:13.160 --> 00:24:15.900 during rapid energetic movements, the friction 00:24:15.900 --> 00:24:18.700 could cause severe rope burner cuts. The tape 00:24:18.700 --> 00:24:22.079 created a smoother, more durable surface, allowing 00:24:22.079 --> 00:24:24.519 him to maintain that dangerous, high -energy 00:24:24.519 --> 00:24:27.519 stage performance night after night without injury. 00:24:27.759 --> 00:24:30.440 It's the pragmatist again, applying an engineering 00:24:30.440 --> 00:24:33.559 solution to an artistic problem. Now, speaking 00:24:33.559 --> 00:24:36.480 of artistry, Daltrey's songwriting contributions 00:24:36.480 --> 00:24:39.359 often get overlooked because of Townsend's overwhelming 00:24:39.359 --> 00:24:41.700 genius. Let's correct that. He was definitely 00:24:41.700 --> 00:24:43.539 a hidden songwriter, especially in the band's 00:24:43.539 --> 00:24:45.980 formative years. He was integral to the writing 00:24:45.980 --> 00:24:48.500 process. Crucially, their second ever single. 00:24:48.579 --> 00:24:52.059 Anyway, anyhow, Anywhere from 1965, which was 00:24:52.059 --> 00:24:54.619 fundamental to defining their early sound, was 00:24:54.619 --> 00:24:56.920 a collaboration co -written by Daltrey and Townsend. 00:24:57.240 --> 00:24:59.539 He also contributed solo compositions to their 00:24:59.539 --> 00:25:02.019 earlier albums. Absolutely. Daltrey contributed 00:25:02.019 --> 00:25:05.119 the track See My Way entirely on his own to the 00:25:05.119 --> 00:25:08.259 1966 album A Quick One. He also co -wrote the 00:25:08.259 --> 00:25:12.140 track Early Morning Cold Taxi in 1967 with David 00:25:12.140 --> 00:25:14.819 Cyrano Langston, a song that emerged from The 00:25:14.819 --> 00:25:16.819 Who's sellout sessions and later appeared on 00:25:16.819 --> 00:25:18.859 deluxe editions. And one of his most important 00:25:18.859 --> 00:25:21.440 solo compositions for The Who landed on a B -side. 00:25:21.579 --> 00:25:24.160 That would be Here For More. which served as 00:25:24.160 --> 00:25:26.799 the B -side to The Who's 1970 single, The Seeker. 00:25:27.579 --> 00:25:29.819 He continued to write later in his career as 00:25:29.819 --> 00:25:32.440 well, with songs like Crossroads Now growing 00:25:32.440 --> 00:25:35.480 out of an onstage jam in 1999, and the Daltrey 00:25:35.480 --> 00:25:37.700 original Certified Rose being a track they were 00:25:37.700 --> 00:25:39.880 rehearsing right before Whistle's passing in 00:25:39.880 --> 00:25:42.849 2002. This ability to be hands -on wasn't limited 00:25:42.849 --> 00:25:45.190 to writing. He was genuinely the band's equipment 00:25:45.190 --> 00:25:47.809 expert in the early days. That ingenuity was 00:25:47.809 --> 00:25:50.309 born purely out of necessity and a lack of funds. 00:25:50.630 --> 00:25:53.329 In the band's impoverished early days, Daltrey 00:25:53.329 --> 00:25:55.190 was the one who hand -built guitars for the band 00:25:55.190 --> 00:25:58.029 members. He was practical, technical, and resourceful. 00:25:58.130 --> 00:26:00.130 He managed the physical infrastructure of the 00:26:00.130 --> 00:26:03.849 band. And we know he played a 1961 Epiphone Wilshire 00:26:03.849 --> 00:26:06.789 solid -body electric guitar as lead guitarist 00:26:06.789 --> 00:26:09.150 for the Detours. And he even kept his business 00:26:09.150 --> 00:26:11.910 acumen sharp in the transaction, didn't he? He 00:26:11.910 --> 00:26:15.190 sold that 1961 Epiphone Wilshire to Pete Townshend 00:26:15.190 --> 00:26:17.849 on an easy payment plan, securing a small stream 00:26:17.849 --> 00:26:20.130 of income even as he transitioned to full -time 00:26:20.130 --> 00:26:22.529 vocalist. And while he focused solely on singing 00:26:22.529 --> 00:26:24.980 for the classic Who years, He returned to guitar 00:26:24.980 --> 00:26:27.019 work later in his career, often playing rhythm 00:26:27.019 --> 00:26:30.059 or acoustic parts. Post -1980s, we see him pick 00:26:30.059 --> 00:26:32.700 up the instrument again. He played a Fender Esquire 00:26:32.700 --> 00:26:35.279 for a second guitar part on Eminence Front during 00:26:35.279 --> 00:26:39.599 the 1982 and 1989 tours. On the 89 tour, he also 00:26:39.599 --> 00:26:42.500 played a beautiful Gibson Chet Atkins SST for 00:26:42.500 --> 00:26:45.849 the song Hey Joe. And for the 96 -97 Quadrophenia 00:26:45.849 --> 00:26:49.130 tour, he used a Gibson J -200 acoustic. Right. 00:26:49.329 --> 00:26:51.369 And in recent years, his choice of instruments 00:26:51.369 --> 00:26:53.630 has become even more diverse, linking back to 00:26:53.630 --> 00:26:55.690 that early passion for the raw sound of folk 00:26:55.690 --> 00:26:58.769 and skiffle. Since 99, his involvement in guitar 00:26:58.769 --> 00:27:01.470 work has increased significantly. He used a Versal 00:27:01.470 --> 00:27:04.150 Buxom 6 handmade acoustic guitar on the 2002 00:27:04.150 --> 00:27:07.089 tour. And on his 2009 solo tour, he showed off 00:27:07.089 --> 00:27:09.789 an unexpected instrument. He played Townsend's 00:27:09.789 --> 00:27:13.940 ballad, Blue, Red, and Gray. on an Ashbury cutaway 00:27:13.940 --> 00:27:17.180 tenor EQ ukulele. We must also credit his role 00:27:17.180 --> 00:27:20.079 in British popular music for a non -string instrument, 00:27:20.460 --> 00:27:23.720 the harmonica. That's a crucial sound. Daltrey 00:27:23.720 --> 00:27:25.660 is noted as one of the key figures who helped 00:27:25.660 --> 00:27:27.619 integrate the harmonica into British popular 00:27:27.619 --> 00:27:31.180 music using Hohner and Lee Oscar brands to infuse 00:27:31.180 --> 00:27:33.240 their music with these distinct powerful blues 00:27:33.240 --> 00:27:36.180 and folk elements. He wasn't just a voice, he 00:27:36.180 --> 00:27:38.380 was a multi -instrumentalist who understood the 00:27:38.380 --> 00:27:40.640 tools of the trade. Moving away from the stage, 00:27:40.740 --> 00:27:43.220 we delve into the man who, despite his volatile 00:27:43.220 --> 00:27:45.819 career, craved the stability of country life 00:27:45.819 --> 00:27:48.380 and unexpectedly became the patriarch of a very 00:27:48.380 --> 00:27:51.539 large blended family. In 1971, Daltrey sought 00:27:51.539 --> 00:27:54.200 a profound separation from the chaos of the rock 00:27:54.200 --> 00:27:56.539 and roll lifestyle. He bought a beautiful Jacobian 00:27:56.539 --> 00:27:59.059 country house, Holmeshurst Manor, near Burwash 00:27:59.059 --> 00:28:01.740 in East Sussex. And he embraced rural life with 00:28:01.740 --> 00:28:03.660 the same practicality he applied to building 00:28:03.660 --> 00:28:06.859 guitars. He did. He didn't just buy a farm. He 00:28:06.859 --> 00:28:09.039 turned it into a successful entrepreneurial venture 00:28:09.039 --> 00:28:11.859 focused on nature. He opened the Lake Down Trout 00:28:11.859 --> 00:28:15.000 Fishery in 1981. And crucially, he personally 00:28:15.000 --> 00:28:17.039 designed the four spring -fed lakes himself. 00:28:17.359 --> 00:28:20.119 A physical manifestation of his practical ingenuity. 00:28:20.519 --> 00:28:23.359 Today, the fishery is successfully run by his 00:28:23.359 --> 00:28:26.019 son, Jamie. That's right. Now for the complexities 00:28:26.019 --> 00:28:28.640 of his personal life. He has been married twice, 00:28:28.640 --> 00:28:30.920 with relationships spanning several decades. 00:28:31.200 --> 00:28:33.579 His first marriage was in 1964 to Jacqueline 00:28:33.579 --> 00:28:36.460 Rickman. They divorced in 1968, and they share 00:28:36.460 --> 00:28:39.380 one son, Simon. During the interval between his 00:28:39.380 --> 00:28:41.380 marriages, Daltrey had an affair with Swedish 00:28:41.380 --> 00:28:44.079 model Elisabeth Aronson, which resulted in the 00:28:44.079 --> 00:28:46.700 birth of his son Matthias in 1967. He met his 00:28:46.700 --> 00:28:49.660 current wife, Heather Taylor, in 1968. Heather 00:28:49.660 --> 00:28:52.940 Taylor, a UK -born model, is famous in rock lore. 00:28:53.339 --> 00:28:56.079 as supposedly being the subject of Jimi Hendrix's 00:28:56.079 --> 00:28:59.839 iconic 1967 song, Foxy Lady. Right. Daltrey and 00:28:59.839 --> 00:29:02.299 Taylor married in 1971 and have three children 00:29:02.299 --> 00:29:05.319 together, Rosie Leah, Willow Amber, who interestingly 00:29:05.319 --> 00:29:08.539 sang on his 1992 solo album, Rocks in the Head, 00:29:08.619 --> 00:29:11.420 and Janie, who manages the fishery. Then came 00:29:11.420 --> 00:29:13.619 the moment that truly redefined his family structure, 00:29:13.920 --> 00:29:16.140 the shocking surprise he received on his 50th 00:29:16.140 --> 00:29:18.500 birthday. It's a remarkable story of revelation 00:29:18.500 --> 00:29:22.619 and acceptance. On his 50th birthday, March 1st, 00:29:22.619 --> 00:29:26.119 1994, Daltrey received a letter from a woman 00:29:26.119 --> 00:29:28.940 who claimed to be his adopted daughter, the result 00:29:28.940 --> 00:29:31.400 of a brief relationship he had during that turbulent 00:29:31.400 --> 00:29:33.920 period in the late 1960s. And it didn't stop 00:29:33.920 --> 00:29:37.210 there. No. He later met two more adopted daughters 00:29:37.210 --> 00:29:39.730 from that same era, all born during the time 00:29:39.730 --> 00:29:42.069 between his marriages. Three adult daughters, 00:29:42.230 --> 00:29:44.970 all adopted, revealed themselves to him decades 00:29:44.970 --> 00:29:47.109 later. That must have been an emotional earthquake 00:29:47.109 --> 00:29:49.390 for the entire family. It was an incredible moment. 00:29:49.549 --> 00:29:52.490 As of 2018, he publicly acknowledged having eight 00:29:52.490 --> 00:29:55.410 children and 15 grandchildren in total. And what 00:29:55.410 --> 00:29:58.049 makes this story particularly resonant is the 00:29:58.049 --> 00:30:00.329 reaction of his wife, Heather. She welcomed them 00:30:00.329 --> 00:30:02.769 all. She demonstrated remarkable generosity and 00:30:02.769 --> 00:30:05.230 stability, welcoming all three. adopted daughters 00:30:05.230 --> 00:30:07.569 into their extended family unit without reservation. 00:30:08.309 --> 00:30:10.829 Daltrey has often expressed his deep appreciation 00:30:10.829 --> 00:30:13.910 for her openness, stating he accepted and loved 00:30:13.910 --> 00:30:16.390 them all very much. Let's transition now to the 00:30:16.390 --> 00:30:19.549 instrument that made him famous, his voice. He 00:30:19.549 --> 00:30:21.769 has faced very serious health challenges regarding 00:30:21.769 --> 00:30:24.490 his singing voice. The voice of rock endured 00:30:24.490 --> 00:30:27.930 immense, decades -long strain. He first required 00:30:27.930 --> 00:30:31.450 surgery in 1978 to remove nodules during the 00:30:31.450 --> 00:30:34.299 recording of Who Are You? Then, in his later 00:30:34.299 --> 00:30:36.900 career, he noticed a significant problem, struggling 00:30:36.900 --> 00:30:39.579 to hit high notes during his 2009 solo tour. 00:30:39.740 --> 00:30:41.539 And this led to a very frightening diagnosis 00:30:41.539 --> 00:30:45.319 in December 2010, vocal cord dysplasia. For a 00:30:45.319 --> 00:30:47.079 professional singer, that must have felt like 00:30:47.079 --> 00:30:50.079 a career -ending crisis. What exactly is that? 00:30:50.579 --> 00:30:52.599 Dysplasia is characterized by the presence of 00:30:52.599 --> 00:30:55.119 abnormal cells on the vocal cords, which can 00:30:55.119 --> 00:30:57.690 potentially be precancerous. It was a severe 00:30:57.690 --> 00:30:59.849 threat to his ability to sing. He sought out 00:30:59.849 --> 00:31:02.470 the expertise of Dr. Stephen M. Zeidels, a world 00:31:02.470 --> 00:31:04.630 -renowned specialist at the Massachusetts General 00:31:04.630 --> 00:31:06.869 Hospital Voice Center. And Dr. Zeidels performed 00:31:06.869 --> 00:31:10.029 laser surgery to remove the growth. He did. The 00:31:10.029 --> 00:31:12.190 surgery was successful and Daltrey continues 00:31:12.190 --> 00:31:14.569 to undergo regular checks to ensure his vocal 00:31:14.569 --> 00:31:16.930 health. And he also has a rather unique and very 00:31:16.930 --> 00:31:19.509 rock and roll occupational hazard, a specific 00:31:19.509 --> 00:31:21.470 allergy that affects his performance. He has 00:31:21.470 --> 00:31:24.430 a well -documented allergy to cannabis that severely 00:31:24.430 --> 00:31:27.349 compromises his singing voice. This has been 00:31:27.349 --> 00:31:28.990 a recurring issue at concerts throughout his 00:31:28.990 --> 00:31:31.130 later career. So he's had to interrupt shows. 00:31:31.509 --> 00:31:33.329 The source material notes he has occasionally 00:31:33.329 --> 00:31:36.009 had to interrupt performances mid -song to ask 00:31:36.009 --> 00:31:38.230 the audience to refrain from smoking marijuana. 00:31:39.180 --> 00:31:41.500 the secondhand smoke immediately impacts his 00:31:41.500 --> 00:31:44.460 ability to hit notes. It's a bizarre clash between 00:31:44.460 --> 00:31:46.759 the rock and roll ethos and the needs of his 00:31:46.759 --> 00:31:49.160 craft. And he has been equally candid about the 00:31:49.160 --> 00:31:51.839 effects of loud music on his hearing. In 2018, 00:31:52.180 --> 00:31:54.779 Daltrey made a very open and frank announcement 00:31:54.779 --> 00:31:57.819 on stage, revealing that decades of performing 00:31:57.819 --> 00:32:00.940 at high volumes had resulted in significant hearing 00:32:00.940 --> 00:32:04.460 loss, stating he was now very very deaf. And 00:32:04.460 --> 00:32:06.839 he used that to send a message. He did. Instead 00:32:06.839 --> 00:32:09.259 of keeping it quiet he used his personal struggle 00:32:09.259 --> 00:32:12.160 to actively urge his audience members especially 00:32:12.160 --> 00:32:15.119 younger fans to use earplugs to protect their 00:32:15.119 --> 00:32:17.670 own hearing. This concern for the health of younger 00:32:17.670 --> 00:32:20.109 generations is not just a passing comment. It's 00:32:20.109 --> 00:32:22.569 the core of his massive philanthropic mission. 00:32:22.809 --> 00:32:25.069 His commitment to youth health, particularly 00:32:25.069 --> 00:32:27.549 in the realm of cancer care, is arguably the 00:32:27.549 --> 00:32:30.150 defining mission of his later life. He was the 00:32:30.150 --> 00:32:32.150 driving force behind the launch of the Teenage 00:32:32.150 --> 00:32:35.549 Cancer Trust, or TCT, concert series at the Royal 00:32:35.549 --> 00:32:38.390 Albert Hall in 2000. And that series has been 00:32:38.390 --> 00:32:41.210 incredibly successful, raising over 20 million 00:32:41.210 --> 00:32:44.119 pounds to date. It has. And why is the focus 00:32:44.119 --> 00:32:47.200 on teenage cancer patients so distinct and important? 00:32:47.559 --> 00:32:51.000 That is the profound commitment. Historically, 00:32:51.099 --> 00:32:53.400 young adults and teenagers often fall into a 00:32:53.400 --> 00:32:56.819 gap in care. They're too old for pediatric oncology 00:32:56.819 --> 00:32:59.099 wards, but their needs are fundamentally different 00:32:59.099 --> 00:33:02.220 from those of older adults. Right. TCT's work, 00:33:02.359 --> 00:33:05.220 heavily supported by Daltrey, focuses on creating 00:33:05.220 --> 00:33:08.079 specialized wards and services that address the 00:33:08.079 --> 00:33:11.059 unique social, emotional and physical needs of 00:33:11.059 --> 00:33:13.940 13 to 24 year olds, ensuring they are treated 00:33:13.940 --> 00:33:16.160 in an environment designed for their age group. 00:33:16.299 --> 00:33:18.880 That work led to major public recognition beyond 00:33:18.880 --> 00:33:21.980 the music industry. In 2003, Daltrey was honored 00:33:21.980 --> 00:33:24.740 by Time magazine as a European hero, specifically 00:33:24.740 --> 00:33:28.140 for his tireless work with TCT. He was also appointed 00:33:28.140 --> 00:33:29.859 a Commander of the Order of the British Empire, 00:33:30.140 --> 00:33:34.019 a CBE, in 2004 for services to music, entertainment, 00:33:34.279 --> 00:33:36.920 and charity, which preceded his eventual knighthood. 00:33:37.039 --> 00:33:38.960 And his philanthropic efforts expanded across 00:33:38.960 --> 00:33:41.579 the pond, leveraging the WHO's ongoing platform. 00:33:41.940 --> 00:33:44.880 In 2011, Daltrey and Townsend co -launched the 00:33:44.880 --> 00:33:46.839 Daltrey -Townsend Teen and Young Adult Cancer 00:33:46.839 --> 00:33:50.039 Program at the Ronald Reagan UCLA Medical Center 00:33:50.039 --> 00:33:53.279 in Los Angeles. This major initiative is funded 00:33:53.279 --> 00:33:56.470 by their charity. Teen Cancer America, mirroring 00:33:56.470 --> 00:33:58.750 the specialized care model developed in the UK. 00:33:58.990 --> 00:34:01.450 And finally, a very niche but vital contribution 00:34:01.450 --> 00:34:04.470 back to the science of his own craft, vocal health 00:34:04.470 --> 00:34:07.430 research. Recognizing the importance of vocal 00:34:07.430 --> 00:34:10.269 cord preservation, Daltrey, alongside Stephen 00:34:10.269 --> 00:34:12.610 Tyler of Aerosmith and actress Julie Andrews, 00:34:12.630 --> 00:34:15.050 provided funding for Robert S. Langer's research 00:34:15.050 --> 00:34:17.869 at MIT. And this research is dedicated to developing 00:34:17.869 --> 00:34:21.000 new methods for vocal cord repair. Yes. Benefiting 00:34:21.000 --> 00:34:23.119 not only aging singers like himself, but also 00:34:23.119 --> 00:34:25.320 cancer victims and those suffering from other 00:34:25.320 --> 00:34:27.340 vocal disorders, his commitment to the human 00:34:27.340 --> 00:34:29.739 voice is both professional and deeply personal. 00:34:29.940 --> 00:34:32.340 We now turn to Daltrey's outspoken political 00:34:32.340 --> 00:34:35.139 and social views, which have often been as blunt 00:34:35.139 --> 00:34:37.780 and uncompromising as his music. And our goal 00:34:37.780 --> 00:34:39.940 here is strictly impartial. We are just reporting 00:34:39.940 --> 00:34:42.360 on the content of the source material. Absolutely. 00:34:42.559 --> 00:34:45.179 And his political engagement actually dates back 00:34:45.179 --> 00:34:48.980 to the early 1970s, focused on a classic populist 00:34:48.980 --> 00:34:52.480 cause, transparency and the right to know. What 00:34:52.480 --> 00:34:55.219 was the focus of that early activism? Back in 00:34:55.219 --> 00:34:58.639 1970, Daltrey publicly supported the National 00:34:58.639 --> 00:35:01.559 Campaign for Freedom of Information. He framed 00:35:01.559 --> 00:35:03.239 this argument through the lens of his background, 00:35:03.380 --> 00:35:05.739 stating, I come from a working class background 00:35:05.739 --> 00:35:08.179 and I am proud of it and I intend to fight for 00:35:08.179 --> 00:35:10.519 the workers' right to know. He argued that the 00:35:10.519 --> 00:35:12.780 working class needed this information to understand 00:35:12.780 --> 00:35:15.619 what goes on behind the scenes that is causing 00:35:15.619 --> 00:35:18.860 this country's economic mess. He believed a Freedom 00:35:18.860 --> 00:35:21.340 of Information Act would restore truth and sanity 00:35:21.340 --> 00:35:24.280 to tax laws. This stance, favoring accountability 00:35:24.280 --> 00:35:27.420 and transparency for the working man, seems consistent 00:35:27.420 --> 00:35:30.300 with his pragmatist persona. But his party allegiance 00:35:30.300 --> 00:35:33.079 shifted significantly over time. He was initially 00:35:33.079 --> 00:35:35.320 a supporter of the British Labour Party. He was. 00:35:35.500 --> 00:35:38.539 However, he later publicly withdrew his endorsement, 00:35:38.599 --> 00:35:41.519 citing strong opposition to the mass immigration 00:35:41.519 --> 00:35:44.300 policies implemented under Tony Blair's labor 00:35:44.300 --> 00:35:46.800 government. And his criticism of labor continued 00:35:46.800 --> 00:35:49.960 to sharpen, targeting specific leaders. In 2018, 00:35:50.300 --> 00:35:52.699 Daltrey publicly criticized the then labor leader 00:35:52.699 --> 00:35:55.599 Jeremy Corbyn, describing him in no uncertain 00:35:55.599 --> 00:35:58.920 terms as a communist, reflaking his strong rightward 00:35:58.920 --> 00:36:01.360 shift in political alignment. One of the most 00:36:01.360 --> 00:36:03.820 polarizing issues in modern UK history is Brexit, 00:36:04.059 --> 00:36:06.400 and Daltrey was a vocal proponent of Britain 00:36:06.400 --> 00:36:08.659 leaving the European Union. He was a staunch 00:36:08.659 --> 00:36:11.340 supporter of Brexit. He argued his position in 00:36:11.340 --> 00:36:13.260 the mirror, stating that Britain should never 00:36:13.260 --> 00:36:16.719 fear the consequences of leaving. He often contrasted 00:36:16.719 --> 00:36:19.559 the dynamic swinging Britain of the 1960s, a 00:36:19.559 --> 00:36:21.699 time before the UK joined the common market in 00:36:21.699 --> 00:36:25.239 73, with a country now, as he saw it, ruled by 00:36:25.239 --> 00:36:28.400 bureaucrats in the EU. This anti -bureaucratic, 00:36:28.400 --> 00:36:30.840 anti -authority stance seems to connect directly 00:36:30.840 --> 00:36:33.340 back to his working class, anti -establishment 00:36:33.340 --> 00:36:35.920 roots. He views centralized, distant government 00:36:35.920 --> 00:36:38.920 with deep suspicion. That distrust was evident 00:36:38.920 --> 00:36:40.880 in the powerful language he used to describe 00:36:40.880 --> 00:36:43.559 the governance structure. In 2019, he further 00:36:43.559 --> 00:36:46.280 criticized the EU, equating being governed by 00:36:46.280 --> 00:36:48.260 the organization to being governed by a fucking 00:36:48.260 --> 00:36:51.360 mafia, like being governed by FIFA. He consistently 00:36:51.360 --> 00:36:54.079 emphasized a return to national autonomy and 00:36:54.079 --> 00:36:57.360 accountability. He did. And he has also offered 00:36:57.360 --> 00:37:00.619 very blunt opinions on U .S. politics. Right. 00:37:00.699 --> 00:37:03.960 In 2017, Daltrey gave a notable blunt assessment 00:37:03.960 --> 00:37:07.519 of the 2016 U .S. presidential election, offering 00:37:07.519 --> 00:37:09.699 the opinion that a dead dog could have defeated 00:37:09.699 --> 00:37:12.679 Hillary Clinton. And finally, he has been extremely 00:37:12.679 --> 00:37:16.559 outspoken regarding what he perceives as a stifling 00:37:16.559 --> 00:37:19.460 social climate caused by modern social movements. 00:37:19.980 --> 00:37:22.099 He's voiced sharp criticism regarding current 00:37:22.099 --> 00:37:25.340 social discourse. In 2018, he denounced the Me 00:37:25.340 --> 00:37:28.119 Too movement, describing it as salacious crap 00:37:28.119 --> 00:37:30.559 that he felt was based solely on allegations. 00:37:31.659 --> 00:37:34.699 Furthermore, in a 2021 interview, Daltrey criticized 00:37:34.699 --> 00:37:38.099 what he referred to as the woke generation, arguing 00:37:38.099 --> 00:37:40.480 that these younger generations are actively creating 00:37:40.480 --> 00:37:43.460 a miserable world by stifling the creative freedoms 00:37:43.460 --> 00:37:46.079 and artistic expression that define the cultural 00:37:46.079 --> 00:37:49.079 revolutions of the 1960s. He specifically warned 00:37:49.079 --> 00:37:51.639 that this path is a route to nowhere for artistic 00:37:51.639 --> 00:37:54.539 endeavor. What an incredible journey. We've moved 00:37:54.539 --> 00:37:56.579 from the working class boy born during a bombing 00:37:56.579 --> 00:37:58.960 raid who had the academic promise for a conventional 00:37:58.960 --> 00:38:01.780 career but chose to run a band with his To the 00:38:01.780 --> 00:38:04.980 iconic, powerful voice of rebellion, the successful 00:38:04.980 --> 00:38:07.820 film actor, the self -made trout entrepreneur, 00:38:07.940 --> 00:38:10.860 and ultimately the dedicated humanitarian recently 00:38:10.860 --> 00:38:13.219 honored with a knighthood. The central theme 00:38:13.219 --> 00:38:16.139 of Roger Daltrey's life is his incredible, relentless 00:38:16.139 --> 00:38:19.539 capacity for resilience and reinvention. His 00:38:19.539 --> 00:38:22.260 work with The Who. remains the absolute bedrock 00:38:22.260 --> 00:38:24.619 of the rock canon. The Rock and Roll Hall of 00:38:24.619 --> 00:38:27.260 Fame confirms this permanence by including three 00:38:27.260 --> 00:38:29.960 of The Who's songs on its list of 500 songs that 00:38:29.960 --> 00:38:32.079 shaped rock and roll. My Generation, Go to the 00:38:32.079 --> 00:38:34.980 Mirror, and Bob O 'Reilly. All classics. He consistently 00:38:34.980 --> 00:38:37.559 transcended the singular role of the band frontman. 00:38:37.739 --> 00:38:40.340 We saw him use his stage presence to launch an 00:38:40.340 --> 00:38:42.820 Oscar -nominated acting career, produce vital 00:38:42.820 --> 00:38:45.659 films like McVicar, maintain a surprisingly robust 00:38:45.659 --> 00:38:48.619 solo career, and perhaps most movingly, he dedicated 00:38:48.619 --> 00:38:55.239 his second life to raising $10 million. His career 00:38:55.239 --> 00:38:57.639 just defies any easy summary. He is an artist, 00:38:57.840 --> 00:38:59.980 a fighter, a businessman, a technologist, and 00:38:59.980 --> 00:39:02.619 now a devoted humanitarian. Every pivot he has 00:39:02.619 --> 00:39:04.960 made has been defined by that early, pragmatic 00:39:04.960 --> 00:39:07.630 sense of survival. Which brings us back full 00:39:07.630 --> 00:39:10.429 circle to that initial decisive moment of destruction 00:39:10.429 --> 00:39:12.969 and change. We discussed how Daltrey himself 00:39:12.969 --> 00:39:15.570 views his expulsion from grammar school referenced 00:39:15.570 --> 00:39:18.110 in the title of his memoir, Thanks a Lot, Mr. 00:39:18.230 --> 00:39:20.889 Kibblewhite, as the key that unlocked his future. 00:39:21.090 --> 00:39:23.110 It was the forced diversion that put him on the 00:39:23.110 --> 00:39:25.389 path to music. And the sheer volume of his later 00:39:25.389 --> 00:39:28.130 successful ventures from fisherman to film producer 00:39:28.130 --> 00:39:31.409 shows a man constantly pivoting. He never stood 00:39:31.409 --> 00:39:34.559 still. So here is the final provocative thought 00:39:34.559 --> 00:39:36.500 for you to consider as you wrap up this deep 00:39:36.500 --> 00:39:39.980 dive. If Daltrey hadn't been expelled, if he 00:39:39.980 --> 00:39:42.599 had stayed at Acton County Grammar School, excelled 00:39:42.599 --> 00:39:45.800 academically and followed that predictable, secure 00:39:45.800 --> 00:39:48.860 trajectory of a top scoring people toward a respectable 00:39:48.860 --> 00:39:51.639 white collar future. Would we still have the 00:39:51.639 --> 00:39:53.780 Roger Daltrey who defined the rebel spirit of 00:39:53.780 --> 00:39:56.579 the 1960s and 70s? Would that stability have 00:39:56.579 --> 00:39:59.179 stifled the very volatile energy, the need to 00:39:59.179 --> 00:40:01.920 fight and the high stakes risk taking that ultimately 00:40:01.920 --> 00:40:05.519 fueled his massive enduring success? It forces 00:40:05.519 --> 00:40:07.079 us to ask if the district. Construction of the 00:40:07.079 --> 00:40:09.559 safety net is sometimes necessary for the creation 00:40:09.559 --> 00:40:12.179 of a legend. Something to mull over until our 00:40:12.179 --> 00:40:15.099 next deep dive. Thank you for joining us. Always 00:40:15.099 --> 00:40:15.539 a pleasure.