Editing The Who (section)

==== Early career ====
[[File:The Who blue plaque.jpg|thumb|left|Plaque at the Goldhawk Social Club in [[Shepherd's Bush]], London marking early performances by the Who]]
By the time the Detours had become the Who, they had already found regular gigs, including at the Oldfield Hotel in Greenford, the White Hart Hotel in Acton, the Goldhawk Social Club in Shepherd's Bush, and the Notre Dame Hall in Leicester Square.{{sfn|Fletcher|1998|p=68}} They had also replaced Druce as manager with Helmut Gorden, with whom they secured an audition with Chris Parmeinter for [[Fontana Records]].{{sfn|Fletcher|1998|p=70}} Parmeinter found problems with the drumming and, according to Sandom, Townshend immediately turned on him and threatened to fire him if his playing did not immediately improve. Sandom left in disgust, but was persuaded to lend his kit to any potential stand-ins or replacements. Sandom and Townshend did not speak to each other again for 14 years.{{sfn|Marsh|1983|pp=78–79}}

During a gig with a stand-in drummer in late April at the Oldfield, the band first met Keith Moon. Moon grew up in [[Wembley]], and had been drumming in bands since 1961.{{sfn|Fletcher|1998|p=29}} He was performing with a semi-professional band called the Beachcombers, and wanted to play full-time.{{sfn|Marsh|1983|p=80}} Moon played a few songs with the group, breaking a bass drum pedal and tearing a drum skin. The band were impressed with his energy and enthusiasm, and offered him the job.{{sfn|Fletcher|1998|p=73}} Moon performed with the Beachcombers a few more times, but dates clashed and he chose to devote himself to the Who. The Beachcombers auditioned Sandom, but were unimpressed and did not ask him to join.{{sfn|Fletcher|1998|pp=80–81}}

[[File:Quadrophenia exhibit 2.jpg|alt=Several scooters on a display|thumb|The Who's aesthetic grew out of [[Mod (subculture)|mod subculture]] with its high fashion, scooters for transport, and shaggy hairstyles.]]
The Who changed managers to [[Peter Meaden]]. He decided that the group would be ideal to represent the growing [[mod (subculture)|mod]] movement in Britain which involved fashion, [[Scooter (motorcycle)|scooters]] and music genres such as [[rhythm and blues]], [[soul music|soul]] and [[Bebop|modern jazz]]. He renamed the group the High Numbers, dressed them up in mod clothes,<ref name="eder">{{cite web|url=https://www.allmusic.com/artist/the-who-mn0000577627/biography|title=The Who&nbsp;– biography|first=Bruce|last=Eder|website=[[AllMusic]]|access-date=19 September 2013|archive-date=29 October 2013|archive-url=https://web.archive.org/web/20131029052235/http://www.allmusic.com/artist/the-who-mn0000577627/biography|url-status=live}}</ref> secured a second, more favourable audition with Fontana and wrote the lyrics for both sides of their single "[[Zoot Suit/I'm the Face|Zoot Suit"/"I'm the Face]]" to appeal to mods. The tune for "Zoot Suit" was "Misery" by the [[The Dynamics|Dynamics]],<ref>{{cite book|title=Icons of Rock|date=October 2007|publisher=ABC-CLIO|page=240|isbn=978-0-313-33845-8}}</ref> and "I'm the Face" borrowed from [[Slim Harpo]]'s "I Got Love If You Want It".{{sfn|Fletcher|1998|pp=91–92}} Although Meaden tried to promote the single, it failed to reach the top 50{{sfn|Neill|Kent|2009|p=54}} and the band reverted to calling themselves the Who.{{sfn|Neill|Kent|2009|p=60}} The group{{spaced en dash}} none of whom played their instruments conventionally<ref name="The Secret Jewish History of The Who">{{cite web |url=https://forward.com/culture/music/434550/whos-jewish/ |title=The Secret Jewish History of The Who |last=Rogovoy |first=Seth |date=12 November 2019 |website=The Forward |access-date=12 November 2019 |archive-date=12 November 2019 |archive-url=https://web.archive.org/web/20191112221943/https://forward.com/culture/music/434550/whos-jewish/ |url-status=live }}</ref>{{spaced en dash}} began to improve their stage image; Daltrey started using his microphone cable as a [[whip]] on stage, and occasionally leapt into the crowd; Moon threw drumsticks into the air mid-beat; Townshend mimed machine-gunning the crowd with his guitar while jumping on stage and playing guitar with a fast arm-windmilling motion,{{sfn|Marsh|1983|p=120}} or stood with his arms aloft allowing his guitar to produce feedback in a posture dubbed "the Bird Man".{{sfn|DiPerna|1994|p=44}}

Meaden was replaced as manager by two filmmakers, [[Kit Lambert]] and [[Chris Stamp]]. They were looking for a young, unsigned rock group that they could make a film about,<ref name="kurutz">{{cite web|url=https://www.allmusic.com/artist/kit-lambert-mn0000080966|title=Kit Lambert&nbsp;– Biography|first=Steve|last=Kurutz|website=AllMusic|access-date=19 September 2013|archive-date=27 October 2013|archive-url=https://web.archive.org/web/20131027183948/http://www.allmusic.com/artist/kit-lambert-mn0000080966|url-status=live}}</ref> and had seen the band at the Railway Hotel in [[Wealdstone]], which had become a regular venue for them.{{sfn|Neill|Kent|2009|p=55}}<ref>The Railway burned down in 2002 and became blocks of flats named after members of the band.{{PastScape|mnumber=1440043 |mname=THE RAILWAY HOTEL|access-date=25 August 2013}}</ref> Lambert related to Townshend and his art school background, and encouraged him to write songs.<ref name="kurutz" /> In August, Lambert and Stamp made a promotional film featuring the group and their audience at the Railway.{{sfn|Neill|Kent|2009|p=56}} The band changed their set towards soul, [[rhythm and blues]] and [[Motown]] covers, and created the slogan "Maximum R&B".<ref name="eder" />

In June 1964, during a performance at the Railway, Townshend accidentally broke the head of his guitar on the low ceiling of the stage.<ref name="Railway Hotel">[https://web.archive.org/web/20121012001117/http://today.msnbc.msn.com/id/49292974/ns/today-books/t/who-i-am-rock-icon-pete-townshend-tells-his-story/ "'Who I Am': Rock icon Pete Townshend tells his story"] . MSNBC. Retrieved 23 November 2012</ref> Angered by the audience's laughter, he smashed the instrument on the stage, then picked up another guitar and continued the show. The following week, the audience were keen to see a repeat of the event. Moon obliged by kicking his drum kit over,{{sfn|Marsh|1983|p=125}} and [[auto-destructive art]] became a feature of the Who's live set.{{sfn|Marsh|1983|p=126}}