Ozzy Osbourne, lead singer of Black Sabbath and godfather of heavy metal, dies at 76

Ozzy Osbourne, lead singer of Black Sabbath and godfather of heavy metal, dies at 76
Either clad in black or bare-chested, the singer was often the target of parents’ groups for his imagery and once caused an uproar for biting the head off a bat.(REUTERS)
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Updated 23 July 2025

Ozzy Osbourne, lead singer of Black Sabbath and godfather of heavy metal, dies at 76

Ozzy Osbourne, lead singer of Black Sabbath and godfather of heavy metal, dies at 76
  • Ozzy Osbourne was synonymous with Heavy Metal and rock music
  • Known as the Prince of Darkness, Osbourne was a Middle East favorite and played with Black Sabbath in Abu Dhabi in 2014 and 2018

Ozzy Osbourne, the gloomy, demon-invoking lead singer of the pioneering band Black Sabbath who became the throaty, growling voice — and drug-and-alcohol ravaged id — of heavy metal, died Tuesday, just weeks after his farewell show. He was 76.
“It is with more sadness than mere words can convey that we have to report that our beloved Ozzy Osbourne has passed away this morning. He was with his family and surrounded by love. We ask everyone to respect our family privacy at this time,” a family statement from Birmingham, England, said. In 2020, he revealed he had Parkinson’s disease after suffering a fall.
Either clad in black or bare-chested, the singer was often the target of parents’ groups for his imagery and once caused an uproar for biting the head off a bat. Later, he would reveal himself to be a doddering and sweet father on the reality TV show “The Osbournes.”
The Big Bang of heavy metal
Black Sabbath’s 1969 self-titled debut LP has been likened to the Big Bang of heavy metal. It came during the height of the Vietnam War and crashed the hippie party, dripping menace and foreboding. The cover of the record was of a spooky figure against a stark landscape. The music was loud, dense and angry, and marked a shift in rock ‘n’ roll.
The band’s second album, “Paranoid,” included such classic metal tunes as “War Pigs,” “Iron Man” and “Fairies Wear Boots.” The song “Paranoid” only reached No. 61 on the Billboard Hot 100 but became in many ways the band’s signature song. Both albums were voted among the top 10 greatest heavy metal albums of all time by readers of Rolling Stone magazine.
“Black Sabbath are the Beatles of heavy metal. Anybody who’s serious about metal will tell you it all comes down to Sabbath,” Dave Navarro of the band Jane’s Addiction wrote in a 2010 tribute in Rolling Stone. “There’s a direct line you can draw back from today’s metal, through Eighties bands like Iron Maiden, back to Sabbath.”
Sabbath fired Osbourne in 1979 for his legendary excesses, like showing up late for rehearsals and missing gigs. “We knew we didn’t really have a choice but to sack him because he was just so out of control. But we were all very down about the situation,” wrote bassist Terry “Geezer” Butler in his memoir, “Into the Void.”
Osbourne reemerged the next year as a solo artist with “Blizzard of Ozz” and the following year’s “Diary of a Madman,” both hard rock classics that went multiplatinum and spawned enduring favorites such as “Crazy Train,” “Goodbye to Romance,” “Flying High Again” and “You Can’t Kill Rock and Roll.” Osbourne was twice inducted to the Rock & Roll Hall of Fame — once with Sabbath in 2006 and again in 2024 as a solo artist.
The original Sabbath lineup reunited for the first time in 20 years in July for what Osbourne said would be his final concert. “Let the madness begin!” he told 42,000 fans in Birmingham.
Metallica, Guns N Roses, Slayer, Tool, Pantera, Gojira, Alice in Chains, Lamb of God, Halestorm, Anthrax, Rival Sons and Mastodon all did sets. Tom Morello, Aerosmith’s Steven Tyler, Billy Corgan, Ronnie Wood, Travis Barker, Sammy Hagar and more made appearances. Actor Jason Momoa was the host for the festivities.
“Black Sabbath: we’d all be different people without them, that’s the truth,” said Pantera singer Phil Anselmo. “I know I wouldn’t be up here with a microphone in my hand without Black Sabbath.”
Outlandish exploits and a classic look
Osbourne embodied the excesses of metal. His outlandish exploits included relieving himself on the Alamo, snorting a line of ants off a sidewalk and, most memorably, biting the head off the live bat that a fan threw onstage during a 1981 concert. (He said he thought it was rubber.)
Osbourne was sued in 1987 by parents of a 19-year-old teen who died by suicide while listening to his song “Suicide Solution.” The lawsuit was dismissed. Osbourne said the song was really about the dangers of alcohol, which caused the death of his friend Bon Scott, lead singer of AC/DC.
Then-Cardinal John J. O’Connor of New York claimed in 1990 that Osbourne’s songs led to demonic possession and even suicide. “You are ignorant about the true meaning of my songs,” the singer wrote back. “You have also insulted the intelligence of rock fans all over the world.”
Audiences at Osbourne shows could be mooned or spit on by the singer. They would often be hectored to scream along with the song, but the Satan-invoking Osbourne would usually send the crowds home with their ears ringing and a hearty “God bless!”
He started an annual tour — Ozzfest — in 1996 after he was rejected from the lineup of what was then the top touring music festival, Lollapalooza. Ozzfest has gone on to host such bands as Slipknot, Tool, Megadeth, Rob Zombie, System of a Down, Limp Bizkit and Linkin Park.
Osbourne’s look changed little over his life. He wore his long hair flat, heavy black eye makeup and round glasses, often wearing a cross around his neck. In 2013, he reunited with Black Sabbath for the dour, raw “13,” which reached No. 1 on the UK Albums Chart and peaked at No. 86 on the US Billboard 200. In 2019, he had a Top 10 hit when featured on Post Malone’s “Take What You Want,” Osbourne’s first song in the Top 10 since 1989.
In 2020, he released the album “Ordinary Man,” which had as its title song a duet with Elton John. “I’ve been a bad guy, been higher than the blue sky/And the truth is I don’t wanna die an ordinary man,” he sang. In 2022, he landed his first career back-to-back No. 1 rock radio singles from his album “Patient Number 9,” which featured collaborations with Jeff Beck, Eric Clapton, Mike McCready, Chad Smith, Robert Trujillo and Duff McKagan. It earned four Grammy nominations, winning two. (Osbourne won five Grammys over his lifetime.)
At the Rock & Roll Hall of Fame induction ceremony in 2024, Jack Black called him “greatest frontman in the history of rock ‘n’ roll” and “the Jack Nicholson of rock.” Osbourne thanked his fans, his guitarist Randy Rhoads and his longtime wife, Sharon Osbourne.
The beginnings of Black Sabbath
John Michael Osbourne was raised in the gritty city of Birmingham. Kids in school nicknamed him Ozzy, short for his surname. As a boy, he loved the Four Seasons, Chuck Berry and Little Richard. The Beatles made a huge impression.
“They came from Liverpool, which was approximately 60 miles north of where I come from,” he told Billboard. “So all of a sudden it was in my grasp, but I never thought it would be as successful as it became.”
In the late 1960s, Osbourne had teamed up with Butler, guitarist Tony Iommi and drummer Bill Ward as the Polka Tulk Blues Band. They decided to rename the band Earth, but found to their dismay there was another band with that name. So they changed the name to the American title of the classic Italian horror movie “I Tre Volti Della Paura,” starring Boris Karloff: Black Sabbath.
Once they found their sludgy, ominous groove, the band was productive, putting out their self-titled debut and “Paranoid” in 1970, “Master of Reality” in 1971, “Vol. 4” in 1972 and “Sabbath Bloody Sabbath” in 1973.
The music was all about industrial guitar riffs and disorienting changes in time signatures, along with lyrics that spoke of alienation and doom. “People think I’m insane because I am frowning all the time,” Osbourne sang in one song. “All day long I think of things but nothing seems to satisfy/Think I’ll lose my mind if I don’t find something to pacify.”
The Guardian newspaper in 2009 said the band “introduced working-class anger, stoner sludge grooves and witchy horror-rock to flower power. Black Sabbath confronted the empty platitudes of the 1960s and, along with Altamont and Charles Manson, almost certainly helped kill off the hippy counterculture.”
After Sabbath, Osbourne had an uncanny knack for calling some of the most creative young guitarists to his side. When he went solo, he hired the brilliant innovator Rhoads, who played on two of Osbourne’s finest solo albums, “Blizzard of Ozz” and “Diary of a Madman.” Rhoads was killed in a freak plane accident in 1982; Osbourne released the live album “Tribute” in 1987 in his memory.
Osbourne then signed Jake E. Lee, who lent his talents to the platinum albums “Bark at the Moon” and “The Ultimate Sin.” Hotshot Zakk Wylde joined Osbourne’s band for “No Rest for the Wicked” and the multiplatinum “No More Tears.”
“They come along, they sprout wings, they blossom, and they fly off,” Osbourne said of his players in 1995 to The Associated Press. “But I have to move on. To get a new player now and again boosts me on.”
Courting controversy — and wholesomeness
Whomever he was playing with, Osbourne wasn’t likely to back down from controversy. He had the last laugh when the TV evangelist the Rev. Jimmy Swaggart in 1986 lambasted various rock groups and rock magazines as “the new pornography,” prompting some retailers to pull Osbourne’s album.
When Swaggart later was caught with a sex worker in 1988, Osbourne put out the song “Miracle Man” about his foe: “Miracle man got busted/miracle man got busted,” he sang. “Today I saw a Miracle Man, on TV cryin’/Such a hypocritical man, born again, dying.”
Much later, a whole new Osbourne would be revealed when “The Osbournes,” which ran on MTV from 2002-2005, showed this one-time self-proclaimed madman drinking Diet Cokes as he struggled to find the History Channel on his new satellite television or warning his kids not to smoke or drink before they embarked on a night on the town.
Later, he and his son Jack toured America on the travel show “Ozzy & Jack’s World Detour,” where the pair visited such places as Mount Rushmore and the Space Center Houston. Osbourne was honored in 2014 with the naming of a bat frog found in the Amazon that makes high-pitched, batlike calls. It was dubbed Dendropsophus ozzyi.
He also met Queen Elizabeth II during her Golden Jubilee weekend. He was standing next to singer-actor Cliff Richard. “She took one look at the two of us, said ‘Oh, so this is what they call variety, is it?’ then cracked up laughing. I honestly thought that Sharon had slipped some acid into my cornflakes that morning,” he wrote in “I Am Ozzy.”
Thelma Riley and Osbourne married in 1971; Osbourne adopted her son Elliot Kingsley, and they had two more children, Jessica and Louis. Osbourne later met his wife, then Sharon Levy, who became her own celebrity persona, when she was running her father’s Los Angeles office. Her father was Don Arden, a top concert promoter and artist manager. She went to Osbourne’s hotel in Los Angeles to collect money, which Osbourne had spent on drugs.
“She says she’ll come back in three days and I’d better have it. I’d always fancied her and I thought, ‘Ah, she’s coming back! Maybe I have a chance.’ I had pizza hanging from my hair, cigarette ashes on my shirt,” he told the Los Angeles Times in 2000. They married in 1982, had three children — Kelly, Aimee and Jack — and endured periodic separations and reconciliations.
He is survived by his wife Sharon Osbourne and his children.


Review: ‘Hades 2’ is the best roguelike you will ever play

Review: ‘Hades 2’ is the best roguelike you will ever play
Updated 11 October 2025

Review: ‘Hades 2’ is the best roguelike you will ever play

Review: ‘Hades 2’ is the best roguelike you will ever play

DUBAI: “Hades 2” is a bold and dazzling sequel that leans into ambition at every turn. Where the 2020 original laid the foundation, this new chapter deepens the mythos, sharpens the combat and turns the visual dial up to 11.

The sequel follows the original hero Zagreus’ sister, Melinoe, daughter of Hades and Persephone who is born after the events of “Hades.” She returns to a shattered Underworld after Chronos usurps power and imprisons key figures.

From the first few runs, the story weaves tension and mystery: Who is the real threat of time? How do the fates and titans dodge their own destinies? The narrative is layered, with revelations gradually unlocked between runs, and many dialogue moments that feel earned.

Visually, “Hades 2” is a triumph, even if early runs may feel a little too familiar to the original. Every character is richly drawn; the environments shift from the, at times, claustrophobic corridors of the Underworld to the majestic heights of Olympus (and beyond) with grace. The color palette moves beyond reds and blacks, embracing verdant hues, turquoise veils and shimmering light. Even in fast-paced combat, the animations remain crisp and fluid.

Mechanically, “Hades 2” innovates significantly while retaining its signature intensity. Melinoe wields physical weapons but also commands Magick, with a new “Magick Bar” that depletes and recovers based on your actions. Boons now carry elemental affinities and infusions; Arcana cards add constant passive effects you choose pre-run; Hexes summon powerful spells that evolve mid-run; and the sprint mechanic encourages fluid repositioning rather than repetitive dashing.

While the added complexity is demanding and can be frustrating at times, it is definitely worth it.

In short, “Hades 2” offers a richer and more expansive mythic journey, stunning visuals, and a combat system that feels both familiar and fresh; standing as a worthy — and, often, superior — successor.


‘Tron: Ares’ star and director on exploring the future of AI 

‘Tron: Ares’ star and director on exploring the future of AI 
Updated 09 October 2025

‘Tron: Ares’ star and director on exploring the future of AI 

‘Tron: Ares’ star and director on exploring the future of AI 
  • Jodie Turner-Smith and Joachim Ronning discuss the latest installment in the seminal sci-fi franchise 

DUBAI: When British actress Jodie Turner-Smith stepped into the sleek, neon-lit world of “Tron: Ares,” she wasn’t just joining an iconic sci-fi franchise — she was diving headfirst into a meditation on the intersection of technology and humanity. 

In the latest installment, “Tron: Ares,” Jared Leto plays Ares — a sophisticated digital program sent into the real world on a perilous mission. It’s humankind’s first encounter with artificial intelligence in the flesh and a test of what happens when code meets conscience.  

 

Alongside Greta Lee’s Eve Kim — the ENCOM CEO searching for the elusive code written by software engineer Kevin Flynn (the protagonist of 1982’s “Tron”) — Ares finds himself questioning not just his programming but his place in a world full of unpredictable humans. 

At Ares’ side — and mostly at odds with him — stands Athena, his second-in-command, portrayed by Turner-Smith. Describing her character, the actress said, “I think it’s always fun when a character represents more of the chaos. In her own way, Athena is the chaos that can come when nuance is unable to be interpreted. And that’s Athena’s struggle throughout the movie; interpreting nuance while she’s having this experience that is changing her. 

“I think we made a really fun movie, and ultimately, I think that’s what we go to the cinema for: to have an experience,” she continued. “I love to go to watch movies for fun. ‘Tron: Ares’ really is event cinema. It’s so immersive and interesting.” 

While “Tron: Ares” promises the spectacle fans expect — breathtaking visuals, kinetic action, and a pulse-pounding soundtrack from industrial rockers Nine Inch Nails — Turner-Smith says it also leaves room for reflection. “I want people to go away having a conversation,” said the 39-year-old. “There’s so much talk about the doom and gloom of artificial intelligence and all the bad things that can happen, but I want people to walk away from the film with the state of mind of Dr. Eve Kim, who is thinking, ‘How do we keep this technology human-centered? How do we use it to make the world a better place?’ 

 “Our movie is not answering these questions, but it is sitting in the question, which I think is important for any film. It’s to make you think and to make you talk,” she continued. “And hopefully there’s going to be a kid watching this movie who is a future programmer, who is the genius who is going to create a program like Ares that improves the world.” 

Jodie Turner-Smith as Athena in 'Tron-Ares.' (Supplied)

Director Joachim Ronning says the film reflects his own ambivalence toward AI. “I think it’s a little bit of both,” he said when asked if the movie envisions a utopia or a dystopia. “I have mixed emotions about it. As a filmmaker and an artist, I guess I’m nervous — I hope that we can move forward carefully and with some guardrails to AI. But on the other hand, it could also help advance humanity and find solutions to things that we wouldn’t otherwise.” 

For Turner-Smith, the emotional weight of “Tron: Ares” was clear from the moment she read the script. “It had heart, it had humor — it struck me how funny it was; I didn’t expect that — and it was cool, you know?” 

 Jared Leto (L) and Jodie Turner-Smith at the premiere of 'Tron-Ares' in Hollywood on Oct. 6. (AFP)

Working with Leto, she said, was an especially rewarding experience. “I had a blast with him, really. He is a ‘Tron’ head. He’s a huge fan of this franchise. And you could feel how much he loved and cared about it.” 

That energy, she added, was infectious. “He was super-supportive of me, very encouraging. I loved doing our stuff together as Athena and Ares, I really did, but I wanted more. I feel like we didn’t have enough. I’m looking forward to ‘Tron 4’ when Athena returns.” 


‘Window on Palestine’ returns to El-Gouna Film Festival

‘Window on Palestine’ returns to El-Gouna Film Festival
Updated 08 October 2025

‘Window on Palestine’ returns to El-Gouna Film Festival

‘Window on Palestine’ returns to El-Gouna Film Festival

DUBAI: Egypt’s El-Gouna Film Festival is bringing back its “Window on Palestine” program for the third year.

Set to run from Oct. 16 to 24, the festival’s eighth edition will play host to a roster of Palestinian films in the special section.

This year will feature seven short documentaries from the “From Ground Zero+” initiative, offering portrayals of life in Gaza.

The documentaries were created through the Masharawi Fund for Films & Filmmakers in Gaza, in collaboration with Coorigine Production in France. All the films are in Arabic with English subtitles.

The selected works include “Colors Under the Sky” by Reema Mahmoud, which follows a displaced artist struggling to create music amidst destruction; and “Dreams of Farah and Zahra” by Mostafa Al-Nabeeh about two young girls who hold on to creativity as an act of defiance.

In addition, “Gaza to Oscar” by Alaa Damo follows filmmakers who risk their lives to tell their stories; “The Wish” by Aws Al-Banna in which theater becomes a tool for recovery; and “Hassan” by Muhammad Al-Sharif about how a Palestinian teenager’s attempt to get a sack of flour leads to detention.

Also showing is “Unfinished Stories” by Nidal Damo in which a filmmaker drifts from one unfinished story to another; and “Very Small Dreams” by I’timad Wishah about women in Gaza’s refugee camps as they struggle to maintain their dignity and health.

Marianne Khoury, artistic director of the festival, said: “Our commitment to the ‘Window on Palestine’ program is not just a curatorial choice; it is a fundamental part of our mission as a festival in the region.

“Cinema has a profound power to document and to heal, and it is our duty to provide a space where the world can witness the incredible resilience and artistry of the Palestinian people.”


US comedian Andrew Schulz delivers a stellar Dubai debut

US comedian Andrew Schulz delivers a stellar Dubai debut
Updated 08 October 2025

US comedian Andrew Schulz delivers a stellar Dubai debut

US comedian Andrew Schulz delivers a stellar Dubai debut
  • The comedian is set to perform in Riyadh as a part of the comedy festival on Oct. 8

DUBAI: US comedian Andrew Schulz brought the house down during his Dubai debut at the Coca-Cola Arena on Tuesday night, delivering a high-energy set that left the crowd roaring with laughter from start to finish.

Following a successful show in Abu Dhabi in 2024, the comedian returned to the UAE accompanied by the co-hosts of his hit podcast Flagrant.

Opening for Schulz were Mark Gagnon, Akaash Singh, and Emirati comedian Abz Ali.

As part of the Dubai Comedy Festival, Schulz performed a classic American-style standup routine infused with his trademark self-deprecating humor.

And, to the audience’s delight, provided plenty of region-specific jokes about life in the UAE.

Unlike his Abu Dhabi show, this set leaned more toward sharp, quick-fire standup and crowd interaction rather than an overarching narrative, which had characterized his previous Life Tour performances.

From poking fun at Dubai’s traffic to riffing on the city’s obsession with Emaar buildings, Schulz showcased an impressive grasp of local culture and humor.

Throughout the night, his quick wit and spontaneous comebacks during audience interactions had the crowd in stitches.

To close the show, Schulz invited the rest of the lineup back on stage for a lighthearted Q&A segment, where they offered tongue-in-cheek advice.

With laughter, tears, and plenty of surprises, Schulz’s Dubai debut was a memorable addition to his growing list of UAE performances.

The comedian is set to perform in Riyadh as a part of the comedy festival on Oct. 8.


Bad Bunny celebrates Palestinian listeners embracing his music 

Bad Bunny celebrates Palestinian listeners embracing his music 
Updated 03 October 2025

Bad Bunny celebrates Palestinian listeners embracing his music 

Bad Bunny celebrates Palestinian listeners embracing his music 

DUBAI: Puerto Rican star Bad Bunny this week spoke about the global reach of his songs, highlighting how deeply moved he feels by listeners in Palestine embracing his work.

Speaking in an interview with Billboard Arabia, the Grammy-winning artist reflected on the response to his track “DtMF.”

“It’s really beautiful to see so many people from Latin America connecting with that song, people from Palestine connecting with that song, people from all over the world connecting with that song,” he said.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

He explained that the impact extended to his other personal works. “And not only with that one but also with ‘DeVita’ and ‘Dalma Fotos,’ songs where I mention San Juan, songs where I mention places only from here, from Puerto Rico, where I mention my grandfather … Personal songs that people identify with,” he added.

Bad Bunny reflected on what this connection means for him as an artist. “That’s where you see that music is about that, and art in general is about being real, about being honest, and about people being able to identify with what you feel, because through those songs they see that there is no difference between them and me.”

الحمدلله FOR A CEASEFIRE!!! Inshallah I can go again

“DtMF” — short for “Debi Tirar Mas Fotos” (“I should’ve taken more photos”) — went viral in Palestine, with people sharing before-and-after pictures of destruction from the war with Israel.

In the song, Bad Bunny looks back on moments he wishes he had captured, weaving in references to Puerto Rico, his grandfather and local musical styles such as bomba and plena. 

While he dwells on regret, he also emphasizes the importance of cherishing what remains, valuing connections, and honoring one’s roots and memories.