The Who, British shake bunch that was among the most prominent and powerful groups of the 1960s and ’70s and that started the stone drama. The important individuals were Pete Townshend (b. May 19, 1945, London, England), Roger Daltrey (b. Walk 1, 1944, London), John Entwistle (b. October 9, 1944, London—d. June 27, 2002, Las Vegas, Nevada, U.S.), and Keith Moon (b. August 23, 1946, London—d. September 7, 1978, London). Moon was supplanted by Kenney Jones (b. September 16, 1948, London).
Despite the fact that essentially enlivened by American cadence and blues, the Who stepped toward characterizing a remarkably British shake vernacular during the 1960s. Evading the Beatles’ glorified sentiment and the Rolling Stones’ presumptuous swagger, the Who rejected claim and clearly managed high school travails. When shake music was joining youngsters everywhere throughout the world, the Who were lonely, severe untouchables.
Townshend and Entwistle joined Daltrey in his gathering, the Detours, in 1962; with drummer Doug Sandom they moved toward becoming, thus, the Who and the High Numbers. Moon supplanted Sandom in mid 1964, after which the gathering discharged a reluctantly mod single (“I’m the Face”) to little notice and turned into the Who again in late 1964. The West London group of four developed a Pop workmanship picture to suit the design fixated British “mod” subculture and coordinated that look with the beat and-blues sound that mod youth favored. Townshend at last recognized that garments produced using the Union Jack, sharp suits, pointy boots, and short hair styles were a creation, however it worked, securing a fanatically given center after. Design, be that as it may, was carefully a beginning stage for the Who; by the late 1960s the mods were history, and the Who were long past expecting to recognize themselves with the uniform of any development.
The band’s initial records managed estrangement, vulnerability, and disappointment, lashing out with intense verses, savage power harmonies and squalling criticism by guitarist-lyricist Townshend, the active ambush of drummer Moon and bassist Entwistle, and the macho sturdiness of vocalist Daltrey. The four singles that presented the Who between January 1965 and March 1966—”I Can’t Explain,” “At any rate, Anyhow, Anywhere,” “My Generation,” and “Substitute”— proclaimed themselves in an uncommon anger of packed sonic hostility, a masterful explanation coordinated and escalated in front of an audience by Townshend’s propensity for crushing his guitar to peak shows. While other gatherings were pushing toward harmony and-love optimism, the Who sang of pathetic desire (“Pictures of Lily”), peer weight (“Happy Jack”), unpleasant creepy crawlies (Entwistle’s “Boris the Spider”), and sex disarray (“I’m a Boy”). As one instrument after another finished in fragments, the Who immovably proclaimed themselves defenders of making rough anger a type of shake purification.
Until the 1967 arrival of The Who Sell Out, a harsh idea collection exhibited as a privateer radio communicate, the Who were basically a singles gathering. They were, be that as it may, increasingly effective in such manner in Britain (eight top ten hits somewhere in the range of 1965 and 1967) than in the United States (“I Can See for Miles,” discharged in 1967, was the gathering’s just Billboard top ten single). It was the 1969 shake drama Tommy—and a paramount exhibition at Woodstock that late spring—that made the Who a world-class collection shake act. All the while, Townshend was perceived as a standout amongst shake’s most clever, lucid, and unsure arrangers.
The Who solidified their remaining with Who’s Next (1971), a collection of would-be adolescent anthems (“Won’t Get Fooled Again,” “Baba O’Riley”) and delicate sentiments (“Behind Blue Eyes,” “Love Ain’t for Keeping”), all mirroring Townshend’s devotion to his “symbol,” the Indian spiritualist Meher Baba. That equivalent year, Entwistle discharged a performance collection, the obscurely entertaining Smash Your Head Against the Wall; Townshend issued his first solo collection, Who Came First, in 1972; and Daltrey offered his, Daltrey, in 1973. In any case, the Who proceeded apace, discharging Townshend’s subsequent magnum shake show, Quadrophenia, in 1973, The Who by Numbers in 1975, and Who Are You in 1978.
Moon (“the Loon”), whose inordinate way of life was unbelievable, passed on of an incidental medication overdose in 1978 and was supplanted by Jones (in the past of the Small Faces and the Faces). So comprised, the Who discharged Face Dances (1981) and It’s Hard (1982) preceding disbanding in 1982. Daltrey sought after acting while at the same time giving his performance vocation a chance to decrease. Entwistle discharged periodic records to little impact. Townshend busied himself quickly as a book proofreader while undertaking an assortment of solo endeavors—from generally welcomed Who-like shake records, for example, Empty Glass (1980) to The Iron Man (1989), a less-effective investigation in melodic theater that nevertheless made ready for the triumphant conveyance of Tommy to Broadway in 1993. Townshend, Daltrey, and Entwistle rejoined for visits in 1989 and 1996–97. The Who was going to leave on a U.S. visit in 2002 when Entwistle kicked the bucket.
Tommy remains the Who’s most suffering creation. On its way to the theater, Tommy turned into an elite player symphonic collection in 1972 and a gaudy film with Daltrey in the title job in 1975. Quadrophenia likewise was made into a film, in 1979, and was restored by the visiting Who as a stagy shake exhibition during the 1990s.
In 2005 and 2006 Townshend serialized a novella, The Boy Who Heard Music, on the web, and a lot of related tunes comprised “Wire and Glass,” the small scale drama that made up some portion of Endless Wire (2006), which was the principal collection of new Who material since 1982. On it Townshend and Daltrey were bolstered by drummer Zak Starkey (child of Ringo Starr) and Townshend’s brother Simon on guitar, among others. An all out melodic dependent on this material and furthermore titled The Boy Who Heard Music debuted in July 2007 at Vassar College in Poughkeepsie, New York. The Who later performed at the Super Bowl halftime appear in 2010 and at the end function of the 2012 London Olympic Games.
The Who occupied with another arrangement of Quadrophenia exhibitions in 2012–14. Later in 2014 Townshend and Daltrey started what was relied upon to be their last visit, in festivity of the band’s 50th commemoration. That visit finished up in October 2017 with a show in Buenos Aires. Daltrey kept on performing with the Who visiting band into 2018. The Who was enlisted into the Rock and Roll Hall of Fame in 1990 and got Kennedy Center Honors in 2008.