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ROBIN GIBB DIES
Confirming his passing yesterday, a spokesman for Gibb's family said: "The family of Robin Gibb, of The Bee Gees, announce with great sadness that Robin passed away today following his long battle with cancer and intestinal surgery. The family have asked that their privacy is respected at this very difficult time".
In his customary commentary for the BBC when any pop great dies, Paul Gambaccini noted that while best known as performers in the Bee Gees, Gibb and his brothers were also an incredibly successful songwriting team, second only to Lennon and McCartney as "the most successful songwriting unit in British popular music".
He added: "Their accomplishments have been monumental. Not only have they written their own number one hits, but they wrote huge hit records for Barbra Streisand, Diana Ross, Dionne Warwick, Celine Dion, Destiny's Child, Dolly Parton and Kenny Rogers, the list goes on and on. What must also be said is Robin had one of the best white soul voices ever".
Concerns for Gibb's health began when he was forced to cancel a series of shows in 2010 after suffering severe stomach pains. He went on to have emergency surgery for a blocked intestine, his twin brother and fellow Bee Gee Maurice having died in 2003 following complications from a similar condition. Although that surgery seemed to be successful, further concerts had to be cancelled a year later when he suffered acute abdominal pains, and he was subsequently diagnosed with cancer of the colon, and later still with cancer of the liver.
After receiving cancer treatment Gibb started to look very frail, though he insisted he go ahead with promotional work around a charity single he was involved in last October in aid of the British Legion's Poppy Appeal, and he subsequently told reporters that he felt he was successfully fighting off his illness and that doctors had been very impressed with his recovery. There was even talk of him and surviving brother Barry returning to the stage as The Bee Gees. But further hospital stints generated more concerns, even though to the end the singer remained upbeat and resolute he could beat his cancer. Last month he spent over a week in a coma after a bout of pneumonia, but regained consciousness.
Needless to say, many musicians and other celebrities took to Twitter overnight to pay tribute to Gibb, many having only days ago tweeted their tributes to another icon of the 1970s disco era, Donna Summer. Meanwhile, noting the passing of both Summer and Gibb, Stevie Wonder told reporters at last night's Billboard Music Awards in Las Vegas: "We live in a world with changes happening more rapidly. We won't see them ever again. That's a heartbreak. The blessing is we're able to feel the pain, which means we were able to feel some love from that person; feel the experiences the music gave us".
In the latter part of his life Gibb also worked as President of CISAC, the global organisation of collecting societies. It's Chairman Kenth Muldin also paid tribute to Gibb yesterday, telling reporters: "Robin has been our President and the voice of CISAC for the past five years and throughout this period we have been blessed by his presence and his infectious enthusiasm. He took his role very seriously - we knew we could count on him whenever the principles of authors' rights were under attack. On behalf of CISAC, and in the name of the whole creative community that he so brilliantly represented, I would like to offer our deepest and most sincere condolences to his wife Dwina and to his family. We will miss him immensely; we will miss his energy, his dedication to the cause of authors and, most of all, I will miss his friendship".
Meanwhile Guy Fletcher, Chairman of the UK's collecting society PRS, told CMU: "Few people enjoy a career in music lasting more than 50 years yet Robin Gibb was still only 62 when he passed away. With Brothers Barry and Maurice, they formed one of the most powerful song writing teams of all time. Apart from the phenomenal success of the Bee Gees, they enriched the lives of so many international stars, delivering for them some of their most enduring hits: 'Islands In the Stream', 'Chain Reaction', 'How Deep is Your Love' and dozens more. Robin was also very active in his support of Bomber Command charities and was president of CISAC, The International Confederation of Authors And Composers Societies. We have lost a true friend and a unique songwriter".
AEG FAVOURITE TO GET THE MAMA GROUP
Although final details of the deal are to be confirmed, the paper says the global venue owner and tour promoter is now favourite to acquire the MAMA business, generating HMV in the region of £65 million, to help cut back the flagging retailer's estimated £180 million in debts.
It's thought AEG Live will take complete ownership of MAMA, at least initially. As previously reported, there was speculation that the live major would only be interested in the bigger of the MAMA Group's venues, in particular the Hammersmith Apollo, and the rest of the live business might be sold to a different buyer, or be subject to management buy out.
If it does take ownership of the whole MAMA Group, it will be interesting to see what AEG will do with the company, which has core venue and festival divisions as well as a number of periphery units such as The Fly magazine and marketing agencies. As also previously reported, MAMA's artist management division, SuperVision, has been wound down after key managers opted to leave the group amidst concerns about HMV's sale of the company.
Sony Music and equity types Oakley Capital were both also bidding for the live firm, though according to the Mail talks are now focusing on AEG Live's bid.
IFPI WELCOMES APPEALS RULING OVER FILE-SHARING VIA RUSSIAN FACEBOOK
As previously reported, vKontakte is very similar to Facebook, down to its design, colour scheme and many of the social networking tools it offers (indeed, some might call it a straight Facebook rip off), and is big news in Russia and neighbouring countries, where it boasts 110 million registered customers and 33 million users daily.
A number of Western and Russian music companies have criticised vKontakte's role in facilitating file-sharing, and two sued. The owners of the social networking company insisted they had no control over the actions of their customers, that they published warnings against infringement, and had offered to provide rights owners with the contact details of any users who uploaded unlicensed music. But in January the commercial courts in St Petersburg said that wasn't enough, and last week an appeals court reached the same conclusion.
Welcoming the appeal ruling, IFPI boss Frances Moore told CMU: "This judgment sends a clear signal to those in Russia that seek to build their businesses on the back of other people's content. We urge vKontakte to take immediate steps to stop its service being used to infringe copyright on a massive scale. Widespread digital piracy is preventing Russia from developing a thriving legitimate digital music sector and this in turn denies Russian artists a chance of success and starves them of investment by producers".
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LIL WAYNE ACCUSED OF SECOND SKATEBOARD PAP ATTACK
Actually, the circumstances surrounding the latest alleged altercation involving the rapper, a photographer and the violent use of a skateboard are so similar to one reported last month, there's a case for assuming they are actually the same incident, the first being reported from a criminal law perspective (ie a complaint had been made to the police) and the second revolving around subsequent civil action (ie a lawsuit has been filed against Wayne).
But TMZ seems to think these are two separate run-ins, with the latest alleged to have occurred on 3 May, while the previous incident took place in early April. Some key facts about the second fracas also vary from the first, though the two events do have a lot in common.
The latest claims come from Alfredo Marino, who is suing the rapper and his associates for damages caused during an alleged run in. Marino says that he saw Wayne and his posse skateboarding. As a big fan of the rapper, he approached the group and asked if he could take a photo. The rapper declined, so Marino retreated to his car and tried to take a long distance picture instead.
Wayne seemingly saw this, took his entourage over to Marino's car, told the photographer: "Don't you know all it takes is a word and these motherfuckers are going to fuck you up?" Then one of the rapper's posse hit the claimant on the back of his head with a skateboard, knocking him to the ground and leaving him bleeding and concussed.
A legal rep for Marino told TMZ: "My client will enforce all of his rights under the law and all individuals responsible for this outrageous incident will be blamed for the damages that my client has suffered and continues to suffer".
In April a photographer filed a complaint with the Miami police, claiming he had been photographing Wayne and his posse skateboarding, but was subsequently threatened by the rapper's entourage, who pushed him to the ground and spat on him. Though in that incident the skateboard was seemingly used to damage the snapper's bicycle rather than his head.
Wayne's people are yet to comment on either alleged altercation.
ROBIN GIBB 1949 - 2012
The Gibb family moved to Australia in 1958, and it was there that they formally began performing as The Brothers Gibb, later The BGs, and subsequently The Bee Gees. After building an audience in their new home of Brisbane, the brothers were give their own TV show on a local network, and in 1962 signed to Australian record label Festival Records. A number of self-penned songs were subsequently released, but in the main they didn't sell well, and the group achieved just one minor hit in 'Wine And Women'.
Aware of the pop revolution occurring in their home country at the time, the three brothers moved back to the UK, where they formed an alliance with London-based Australian pop impresario Robert Stigwood, who had recently become a partner in the company run by Beatles manager Brian Epstein. With Stigwood's help, the Bee Gees started to achieve chart success in the UK and US with pop ballads like 'To Love Somebody', 'Words', 'New York Mining Disaster 1941' and their first British number one 'Massachusetts'.
However, with success, tensions grew within the group, particularly between Robin and eldest brother Barry, who both felt they should take lead vocals. Things came to a head during an argument over whether a Robin or Barry penned song should be the first single release from their sixth studio album 'Odessa' in 1969. Amidst the rows, Robin quit the group and launched a solo career with the album 'Robin's Reign', while his brothers continued as The Bee Gees, working on a comedy film and accompanying album called 'Cucumber Castle'.
For a short time all three Gibb brothers dabbled with solo careers, before reuniting as a trio, though while relations between the Gibb men had improved, the commercial success of their musical output started to wane. Until the 1975 album 'Main Course', which saw the group move in a different musical direction, creating the sound with which they became most associated - disco beats, high harmonies and Barry Gibb's falsetto singing. The Bee Gees' association with the soon to boom disco genre only grew when they were asked by Stigwood to contribute three songs to the soundtrack of a new movie he was producing, 'Saturday Night Fever'. That soundtrack led to three of the group's most enduring hits, 'Stayin' Alive', 'Night Fever' and 'How Deep Is Your Love'.
'Fever' was another career peak, and as the disco boom went into decline The Bee Gees again saw their record sales slip. A messy falling out with Stigwood that resulted in a multi-million dollar lawsuit also followed. Nevertheless, The Bee Gees continued to score hits, if mainly by writing chart toppers for other artists, and the brothers' solo projects enjoyed some moderate success too, particularly for Robin, who released an album a year between 1983 and 1985.
And then in 1987 the brothers returned as The Bee Gees with their seventeenth album 'ESP' which, although not selling well in the US, was successful in Europe, and secured them a number one with single 'You Win Again'. The album 'One' followed in 1989, a more melancholic record undoubtedly influenced by the premature death of their fourth brother Andy Gibb the previous year.
After 1985's 'Walls Have Eyes', and with Bee Gees albums being released every few years up to 2001, Robin Gibb didn't release another solo album until 2003, in the form of 'Magnet'. The release of that record coincided with the death of his twin brother Maurice after complications resulting from a twisted intestine, which basically brought the Bee Gees to a close as a group, though Robin and Barry would occasionally perform together under that name, usually at charity concerts or on TV shows, after 2006.
Robin, meanwhile, continued to perform and record on and off, pursuing various musical and charitable projects, while also taking on the role of President for the global organisation of collecting societies CISAC, via which he lobbied for the protection of the copyrights of songwriters and their publishers. Even as he started to look increasingly frail as he battled cancer in 2011, he appeared in public to support a single released in aid of the British Legion's Poppy Appeal.
Concerns rose about Gibb's health throughout 2011, and despite news of the singer responding well to various rounds of treatment, when a bout of pneumonia left him in a coma many feared for the worst. He did, however, wake from the coma and was able to talk to close friends and family members before his death.
Gibb is survived by his second wife, Dwina, a daughter and two sons, and, of course, brother Barry, the eldest and now only surviving Gibb brother.
BLACK SABBATH RESPOND TO WARD'S LATEST STATEMENT AHEAD OF HOMECOMING SHOW
As previously reported, it was originally announced that all four founder members of Black Sabbath would reunite in 2012, to perform and record a new album, the first new long player involving all four original members in 33 years. Those plans were set to go ahead, albeit with live dates stripped back, even once it became apparent guitarist Tony Iommi was battling cancer. But then, pretty late in the day, Ward withdrew from the reunion, saying he was being treated unfairly in contract negotiations.
As the first reunion show - an intimate gig (by Black Sabbath's standards) at the Birmingham Academy - approached, Ward said in a statement last week: "I am sincerely passionate in my desire to play with the band, and I'm very, very sorry that it's fallen to this ... I have had to stand up for myself and in doing so realise my actions indirectly, although unintentionally, are upsetting and hurting a lot of you. I know in my heart I couldn't have done these concerts by agreeing the terms suggested. I made a solemn vow after the last European and Ozzfest concerts that I would never again enter into what was, in my opinion, a totally unsatisfactory contract. I have to stand for something, and as painful as it is, I'm doing it".
Responding to that latest statement, the rest of the band - ie Ozzy Osbourne, Iommi and Geezer Butler - said in a statement: "We have decided not to make any detailed comment on Bill's latest statement. There are two sides to every story. We have been working hard at rehearsals making excellent progress after Tony's treatments and we have engaged a substitute drummer for the forthcoming shows".
Tommy Clufetos, drummer in Osbourne's band, filled in at the homecoming reunion show in Birmingham this weekend, after which Butler said: "Thank you, thank you, thank you Birmingham. Best fans ever - you brought out the best in us. It was a privilege playing for you tonight. Tony was a hero - you were the best medicine he has had. Proud to be a Brummie".
Although the show seemingly "brought out the best in us", Thrash Hits has noted that photos on the nostalgia heavy home page of the Black Sabbath website have been cropped or positioned so to remove Ward, and in doing so presenting the original line up as trio, which seems rather petty.
MATT CARDLE "PARTS WAYS" WITH SONY MUSIC
Although 'X-Factor' winners are traditionally signed solely to Syco for the subsequent release of their failed debut album, Cardle was handed over to sister label Columbia because Simon Cowell and his team didn't have the necessary expertise to launch a serious rocker like Matt.
Unfortunately for Cardle, as much as he went around telling people he was going to do something that would stand the test of time better than your average 'X-Factor' winner, it turned out that 'X' fans actually wanted something more like the shiny pop of runners-up One Direction (exactly like them, in fact), while rock fans wanted nothing to do with him or anyone linked to the 'X-Factor' machine.
A source told The People that "everyone wishes [Matt] well", while Cardle himself said via Twitter: "I have parted ways with Columbia Records. We were heading in different directions. Big news coming soon... So excited!"
Expect to see Matt appearing in the line-up round on 'Nevermind The Buzzcocks' shortly.
IMAGEM SIGNS JOHN SHANKS
Confirming the new deal, Imagem USA boss Richard Stumpf told CMU: "Simply put, John brings the best out of the best. What he adds to the songwriting and production process is a gift, and we are very proud to have him as part of the Imagem Music family".
Meanwhile Shanks himself added: "Nothing could make me happier than to be part of the Imagem family, where vision and creativity are paramount".
THE-DREAM SHARES ALBUM RELEASE DATE, HATES ON HATERS
Apparently as fond of arbitrary capital letters as he is of Roman numerals, he also addressed a note to his 'haters' (primarily, perhaps, genre rival The Weeknd - who last month compared Nash to one time McDonalds character Hamburglar)
And it read: "I will Leave no Holes in this Album Period, no room to be Hated only Adored or simply just say 'you don't fuck with me' but what U won't Say is Dream Album is Mediocre or Sucks. I will Never Be your Star I'm too G and too Westside for that. I will never Sellout Arenas Because Since 'Love/Hate' I didn't Sellout! And no matter how much you hate me you got to Respect that!"
And I think we can all take something from that. If only that The-Dream has a very strange idea of how capital letter should be used.
ANTHONY & THE JOHNSONS TO RELEASE ORCHESTRAL LIVE LP
You can preview 'Future Feminism', the spoken word part of which lends its ethos to Anthony Hegarty's previously reported Meltdown festival programme, here: www.youtube.com/watch?v=npyAImVa7qw
Cut The World
FUTURE OF THE LEFT ANNOUNCE ALBUM RELEASE DATE, TOUR DATES
Described by its attached press release as "49.8 minutes of singing, shouting, slinking, smashing and (at times) sobbing", the record will feature such titles as 'Failed Olympic Bid', 'Robocop 4 - Fuck Off Robocop' and urban riot commentary 'City Of Exploded Children', all of which sound incredible.
The band have also plotted a tour based on its 11 Jun release via Xtra Mile Recordings, with live dates as follows:
8 Jun: Nottingham, Bodega
FESTIVAL LINE-UP UPDATE
ATP CURATED BY THE NATIONAL, Butlins Holiday Centre, Minehead, 7-9 Dec: Kurt Vile, Local Natives, Deerhoof, Menomena, Youth Lagoon and Perfume Genius prove strong supplements to ATP's The National-curated Winter edition, and align with the also excellent likes of Kronos Quartet, The Antlers, Sharon Van Etten, My Brightest Diamond, Lower Dens and Wye Oak. www.atpfestival.com
BENICASSIM, Valencia, Spain, 12-15 Jul: Zola Jesus, Timber Timbre, Little Boots and The Antlers feature amid a set of fresh features of this year's Benicassim bill, as also stars Bob Dylan, New Order, The Stone Roses, Florence + The Machine, At The Drive In, Noel Gallagher's High Flying Birds and David Guetta. www.fiberfib.com
THE BIG FEASTIVAL, Chipping Norton, 1-2 Sep: Having swapped its traditional Clapham Common site for Blur bassist Alex James' working farm, Jamie Oliver's food-and-music-centric Big Feastival will this year host performances by Paloma Faith, Razorlight, Gaz Coombes and The Cuban Brothers, with further acts yet to be announced. www.jamieoliver.com
DOT TO DOT, various venues, Manchester/Bristol/Nottingham, 2-4 Jun: Ex Gallows man Frank Carter's new outfit Pure Love are now poised to play across Dot To Dot's three city line-ups at large, as also feature Wavves, Pond, The Internet, Friends, O Children, Doldrums and Cloud Nothings. www.dottodotfestival.co.uk
JERSEY LIVE, Royal Jersey Showgrounds, 2-3 Sep: Proceedings at Jersey Live's Dance Arena will now feature sets from James Zabiela, Jaymo & Andy George, Herve and Jaguary Skills, with Bwani Junction, Jake Bugg and NYC alt pop troupe Friends also joining Noel Gallagher's High Flying Birds, Chase & Status and Primal Scream on the festival's overall roster. www.jerseylive.org.uk
MUSIC EVENT ONE, various venues, Rochester, Kent, 28 Jul: Taking place in various pubs and clubs on Rochester's main thoroughfare, the inagural Music Event One will play host to headliners PiL, plus The Wedding Present, Theatre Royal and Kids Unique. www.musiceventone.co.uk
SOUTH WEST FOUR, Clapham Common, 25-26 Aug: With Public Enemy set to make a rare live appearance at this year's SW4 fest, organisers also add Diplo, A-Trak, Crookers and Sympho Nympho to a two-day bill presided over by Chase & Status and. www.southwestfour.com
BEACH HOUSE COMMENT ON COPYCAT VW AD
Based on what Beach House have said, it appears the ad campaign's maker DDB (and the new song's composers, music and sound co Sniffy Dog) may have taken poetic license with the original track's sonic blueprint after the band "politely declined" to grant an actual, legal license for the original version to feature in the ad. Anyway, to a statement from Beach House, whose new LP 'Bloom' is just out (and in danger of being overshadowed by all this).
The band say: "Hate to have address this VW ad story during our release week, but an important part of information wasn't included in the [Pitchfork] news story. The ad agency actively tried to license 'Take Care' from us for weeks, to which we politely declined. People's comments/anger should not be directed towards VW or us".
They continue: "It was the ad agency that made these moves. I hope this also clarifies to fans and non-fans just how 'Take Care' and the VW ad song are related. We will release a proper statement weeks from now when we don't have more interesting things to do/talk about".
'Whispers And Stories', by the way, really does sound an awful lot like 'Take Care'. Omnipresent throughout are Beach House's signature jingle-jangle guitars and synths, while the ad song substitutes the original's chorus lyric "I'll take care of you" for "I'll watch over you". So sly.
You can compare the two tracks here:
UK MUSIC RESEARCH ATTEMPTS TO PUT VALUE ON PRIVATE COPIES OF CD TRACKS
The survey was conducted in response to the government's recent copyright consultation which, amongst other things, is considering introducing a private copy right into the British copyright system. As previously reported, at the moment it is technically illegal in the UK to make personal back-up copies of CDs, or to transfer CD tracks to a digital music device.
Under most other systems, copyright law allows such personal private copies to be made by default, though in many European and some other jurisdictions the music industry is compensated via a levy system, where a levy is charged on devices onto which such copies are made. Though quite what devices the levy applies to varies from country to country, and has not been without controversy in the digital era (pre-web levies were charged on blank cassettes and CD-Rs, though in the digital age should levies be applied to iPods, phones, any PC with a CD player, and what about new cloud lockers?)
Both the copyright reviews undertaken by UK governments in the last decade - so Gowers in 2006 and Hargreaves last year - have advocated the introduction of a private copy right without levy. But, while the UK music industry generally supports the introduction of the private copy right in principle, as the current government looks to make Hargreaves' proposals law, it will lobby that the right only be introduced alongside some sort of levy or opt-in licence system to compensate rights owners, putting Britain on a level playing field with other European copyright systems.
With digital device and cloud locker operators likely to lobby against those proposals, the UK Music research presumably hopes to show that such companies have been benefiting for years by providing the tools that enable private copies of CDs to be made, even though technically such copies have been illegal to date. Once such copies are legal, some rights owners will argue, labels and publishers should be rewarded for the added-value their content brings to MP3 players, smart-phones and cloud-lockers, through some sort of Europe-style levy or licence system.
Though the device makers might argue that if they didn't make and sell their gadgets consumers wouldn't be able to listen to the music industry's content at all, so wouldn't buy any songs or recordings in the first place, so perhaps the device manufacturers should be paid for the value they bring to the record industry's music. Actually the device makers' PR folk are more likely to go for the much more emotive if not entirely accurate "we'll have to add this levy onto the top of our existing unit prices, and this is just another example of the money grabbing music industry screwing over the customer". Which will be fun.
Though whatever your viewpoint on the private copy and levy debates, the Oliver & Ohlbaum research, which was peer reviewed by Professor Ken Willis from the University of Newcastle, makes for interesting reading. The report reckons 44% of the value of a basic MP3 player device can be attributed to the ability to play music copied from CDs, which would work out in cash terms at about £21 (with the average basic device costing £47.45). It was calculated 53% of a mid-range player's value was linked to CD tracks (so £65.17), and 32% for a top-end device (£80.00).
For smart-phones, the report says 2.5-4.1% of value can be attributed to music copied from CDs (making the cash value anything from £6.67 to £23.60), while for tablets it was worked out 6.7% of the value could be linked to CD music, resulting in a value of £33.50. As for cloud-locker services, even with those digital storage services that are not specifically focused on music, the storage of tracks copied from CDs was the second most important facility to consumers, according to the study.
For more info and lots of colourful bar charts, you can check a summary of the UK Music research here: www.ukmusic.org/assets/media/UK%20Music%20-%20OO%20Copyright%20Research%20Presentation.pdf
JULIO BASHMORE LAUNCHES OWN LABEL
Julio introduces his Broadwalk empire thus: "Fast cars, money, but no record label to truly call my own? This ends today... Hi, I'm Julio Bashmore. Somehow I have found time between jet-setting around the globe, becoming a voice for the people via my Radio 1 show and generally living the high life to bring you a brand new label, Broadwalk Records. Today heralds a new era in the Julio Bashmore chronicles, with a sound that shall echo through the ages..."
That said, sample 'Au Seve' here: www.youtube.com/watch?v=BnigNbYVQJE
FACEBOOK FLOATS, BUT HOW MUCH DID BONO MAKE?
Although the expected post-IPO boost in share price didn't come (the shares closed on Friday just slightly above the starting price), it's still a phenomenal valuation for the eight year old company, and affirms vast wealths for each of the firm's founders and initial investors. Facebook chief Mark Zuckerberg celebrated by getting married, much to the surprise of his friends, who thought they were attending a party to mark the social networking billionaire's other half's recent graduation.
Another investor whose wealth was boosted by the Facebook IPO was Bono, whose investment vehicle Elevation Partners bought a small stake in the social networking firm in 2009. As Facebook arrived on the Nasdaq stock exchange many reckoned the U2 frontman would be $1.5 billion richer, making his overall fortune bigger than Paul McCartney's. Many wondered aloud on Twitter whether Bono would use his new found monies to make poverty history, as he's often so keen to encourage the rest of us to do with our spare cash.
Though, to be fair to Bono, no one knows if the Facebook IPO will result in an immediate cash boost for Elevation; even if it did, to get the full value of the stake the group would have to sell its share; and even then it would be Elevation which would be $1.5 billion richer. How much Bono himself would then see isn't known.
Certainly the U2 man was keen that everyone know he was not now a billionaire or richer than Macca. He told MSNBC this weekend: "Contrary to reports, I'm not a billionaire or going to be richer than any Beatle - and not just in the sense of money, by the way, The Beatles are untouchable - those billionaire reports are a joke".
ONE DIRECTION'S HARRY STYLES BEING CONSIDERED TO PLAY MICK JAGGER IN ROLLING STONES BIOPIC
Says a source to The People: "Harry on stage can pass as a dead ringer for Jagger. If he can transform this image into a movie role then he's going to be a serious candidate to get the part. The signs are so far good".
Of course a gruelling movie schedule could play havoc with any touring or recording plans over in the One Direction camp, which said source acknowledged: "The film is going to be a lot of work and very demanding. If Harry takes the part it will lead to concerns about his involvement with One Direction. The band is his main priority but it is flattering to have so much interest from such senior people in the film industry - he couldn't miss this opportunity".
So, there you go. Elsewhere in Styles news, he's apparently now dating Emma Ostilly, who played Charlotte Hinchcliffe in 'The Inbetweeners'. According to Metro, when One Direction first rose to fame on 'X-Factor', Ostilly said on Twitter: "Does Harry from One Direction HAVE to be sixteen?! Let's pretend he's eighteen at least! Then there would only be One Direction he would be going... to the bedroom!"