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Developing his own material has been just as difficult. For instance, he's tried to get a biography of Keith Moon off the ground for years, but comedian Mike Myers, who's talked about starring in the part, is getting pretty long in the buck teeth to pull it off (and may have been since the beginning). Moreover, "I can't get a script that works," Daltrey says. After rejecting "ten or eleven" different versions, "I've kind of reined it in right now, because I'm into other things. But one day I'll get it done. It's probably a script I have to write, and I'm a bit insecure about that. But maybe someday."
He had more success with a recent campaign to increase copyright protection for performance royalties in England. The government there recently boosted the time period from fifty to seventy years, which means Daltrey will continue earning a few tuppence from Who albums until he's a nonagenarian, as opposed to losing the income by the middle of the next decade. "For people like me, who've done very well out of the business, it wouldn't mean that much," he concedes. "But the average musician is someone who perhaps earns a few thousand dollars a year, and it's the difference between him having a reasonable lifestyle and being on the policy line."
This fate won't befall Daltrey, especially since a new album is in the offing: Townshend would like to make the next Who long-player available next year, possibly featuring some Floss material as a preview of the project's full-scale staging in 2011. Of course, even some fans wonder about the continuing use of the band's name a full seven years after Entwistle's death. But Daltrey sees such a debate as pointless.
"That's their problem," he says. "I have no comment on that." Seconds later, though, he comes up with one. In his view, "They're the ones who truly are old."
Visit blogs.westword.com/backbeat/ for more of our interview with Roger Daltrey.