For the Record - July 25, 2025
If you believe that we have made an error, or you have questions about The Times' journalistic standards and practices, you may contact the readers' representative by email at readers.representative@latimes.com, by phone at (877) 554-4000 or by mail at 2300 E. Imperial Highway, El Segundo, CA 90245. The readers' representative office is online at latimes.com/readersrep.
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
41 minutes ago
- Yahoo
Ozzy Osbourne Posthumously Scores 10th Top 10 Album With ‘The Essential Ozzy'
Ozzy Osbourne's legacy continues to cement itself on the charts as fans turn to his music while mourning his death. Osbourne died at age 76 on July 22 after a years-long struggle with Parkinson's disease. Between July 18 and 24, 'The Essential Ozzy Osbourne' earned nearly 44,000 equivalent album units, debuting at No. 7 on the albums chart, according to Luminate. More from Variety Kelly Osbourne References Black Sabbath Lyrics to Mourn Ozzy Osbourne: 'I Feel Unhappy, I Am So Sad' Ozzy Osbourne's Lost Interview: Black Sabbath Icon on Death Threats, Working With Wife Sharon, and Being Mystified by Glam Metal, 'I Even Fancied the F--in' Lead Singer of Poison!' Bizarre Trisha Paytas Baby Reincarnation Theory Goes Viral After Ozzy Osbourne's Death The collection becomes the Prince of Darkness's 10th top 10 album and a powerful tribute to the heavy metal icon. Released in 2003, the album reaches the top 10 for the first time in history. It previously peaked at No. 81 in 2003, the year it was released. The collection was streamed over 48 million times this tracking week, debuting at No. 9 on Billboard's Top Streaming Albums. Osbourne formerly claimed a top 10 in the Billboard 200 with 'Patient Number 9' (No. 3 in 2022), 'Ordinary Man' (No. 3, 2020), 'Scream' (No. 4, 2010), 'Black Rain' (No. 3, 2007), 'Down to Earth' (No. 4, 2001), 'Ozzmosis' (No. 4, 1995), 'No More Tears' (No. 7, 1991), 'Tribute' (with Randy Rhoads, No. 6 in 1987) and 'The Ultimate Sin' (No. 6, 1986). As the frontman of Black Sabbath, Osbourne also charted top 10s with '13' (No. 1 in 2013) and 'Master of Reality' (No. 8, 1971). The leading title on the list this week comes from Tyler, The Creator, who scores his fourth and consecutive No. 1 on the Billboard 200 albums chart with 'Don't Tap the Glass.' The set achieves 197,000 units and is the top-selling album of the week with 128,000 sold. Those sales are largely from five physical offerings exclusively sold via the artist's official webstore: a vinyl LP, CD and three deluxe boxed sets. The California-bred rapper has recently made a habit of releasing albums off-cycle. As a result, 'Don't Tap the Glass' was released on a Monday (July 21), giving it only four days of activity in its first tracking week. He previously topped the chart with 'Chromakopia' (2024), 'Call Me If You Get Lost' (2021), and 'Igor' (2019). There were more than a few new top releases on the charts this week, including Jessie Murph's 'Sex Hysteria' and BTS' eighth top 10, 'Permission To Dance On Stage (Live).' Murph scores her first top 10 on the Billboard 200 as 'Sex Hysteria' debuts at No. 8 with 44,000 units earned, powered by 48 million streams across its 15 tracks. It marks her third entry on the Billboard 200, following 'That Ain't No Man That's the Devil' (No. 24 in 2024) and 'Drowning' (No. 162 in 2023). The new album arrives on the heels of two Hot 100 hits: 'Blue Strips' — her highest-charting single to date and first top 20, peaking at No. 15 in May — and 'Touch Me Like a Gangster' (No. 56 in June). The momentum continues as the 22-year-old kicks off her 'Worldwide Hysteria Tour' today in Phoenix, Arizona, with major stops planned across North America, Europe, Australia and New Zealand. Alex Warren's 'You'll Be Alright, Kid' also enters the top 10 of the Billboard 200 for the first time as it lifts from No. 19 to No. 5 after it was expanded with 10 added songs. The set includes Warren's Hot 100 hit, 'Ordinary,' which has spent seven weeks atop the Billboard Hot 100 chart. Closing out the top 10 is BTS with the group's first live album, recorded in 2021 during their tour fo the same name. The set launched with 43,000 equivalent album units earned, with album sales comprising 36,000. The remainder of the top 10 is comprised of previously released sets: Morgan Wallen's 'I'm the Problem' is at No. 2; 'The KPop Demon Hunters' soundtrack is at No. 3; Jackboys and Travis Scott's 'Jackboys 2' is at No. 4; Justin Bieber's 'Swag' is at No. 6; and Clipse's 'Let God Sort Em Out' is at No. 9. Best of Variety New Movies Out Now in Theaters: What to See This Week 'Harry Potter' TV Show Cast Guide: Who's Who in Hogwarts? Final Emmy Predictions: Talk Series and Scripted Variety - New Blood Looks to Tackle Late Night Staples Solve the daily Crossword
Los Angeles Times
an hour ago
- Los Angeles Times
Go behind the scenes with the ‘Alien: Earth' cast at Comic-Con 2025
SAN DIEGO — Sydney Chandler has wanted to attend San Diego Comic-Con as a fan for years. So it's 'surreal' that the actor's first experience with the annual pop culture expo is to promote her upcoming FX series 'Alien: Earth.' Chandler stars in the 'Alien' prequel as Wendy, a young girl whose consciousness has been transferred to an android. 'To be able to do it in this capacity is just mind-blowing,' she tells The Times in advance of the show's Hall H premiere on Friday. 'It's emotional because we worked on this for so long and I learned so much. … I'm kind of at a loss of words.' She does have words of appreciation, though, including for what she's learned from her character. 'Her journey of finding out how to hold her own and stand on her own two feet taught me so much,' says Chandler. 'I'm an overthinker. I'm an anxious person. I would have run so fast. I would not be as brave as her, but she taught me … that it's OK to just stand on your own two feet, and that's enough. That's powerful.' Even before the show's Hall H panel, fans have gathered on the sidewalk outside of the Hard Rock Hotel San Diego to catch a glimpse of Chandler and her 'Alien: Earth' cast mates Timothy Olyphant, Alex Lawther, Samuel Blenkin and Babou Ceesay, along with creator Noah Hawley and executive producer David Zucker, on their short trek to the bus that would transport them to the convention center for the show's world premiere. On the ride over, Hawley betrays no nerves about people seeing the first episode. 'I really think, in a strange way, it plays for all ages because it is about growing up on some level,' says the showrunner. 'But it's also 'Alien,' and it is a meditation on power and corporate power. ' Huddled together on the bus with Lawther and Blenkin, Ceesay is surprised to learn that this is the first time attending San Diego Comic-Con for all three. There's plenty of good-natured ribbing as they talk about the early interviews they've completed at the event. 'I just sort of want to make jokes with you all the time,' says Lawther as he looks towards his cast mates. 'I find it quite giddy in the experience, and I had to remind myself that I'm a professional.' 'Sometimes the British sarcasm instinct just kicks in,' Blenkin adds. Their playful dynamic continues as they joke about crashing Ceesay's other panel, and also backstage at Hall H as they try to sneak up on each other in the dark. After the panel, the cast is whisked away for video interviews and signing posters at a fan meet-and-greet at a booth on the exhibit floor. ('Timothy, you're the man!' shouts a fan passing by.) Later, Hawley, Chandler and Ceesay will hit the immersive 'Alien: Earth' activation where they will explore the wreckage of a crashed ship. 'It's such a safe space for people who just enjoy cinema and enjoy film,' Chandler says of Comic-Con. 'And that's me. I'm a complete nerd for all this stuff, so just to be around that group — it reminds me of why I love film so much in the first place.'
Yahoo
an hour ago
- Yahoo
Mama, Ozzy Osbourne is coming home
Imagining rock 'n' roll without Ozzy Osbourne is impossible. He wasn't one of the music's originators—born in Birmingham, England, in 1948, he was too young for that—but as the lead singer of Black Sabbath, he created the sound, sensibility, and iconography that became known as heavy metal, a feat that earned him the nickname The Prince Of Darkness. Ozzy's reign as the king of heavy metal lasted well over half a century, ending only earlier this month when he played Back To The Beginning, a farewell extravaganza in his hometown, surrounded by disciples that illustrated his deep, lasting influence. Osbourne presided over a bill that gave equal representation to almost every strain of metal that Black Sabbath begat, its diversity illustrating how the band didn't just make a scene: They forged a subculture. Tellingly, apart from a reunited Black Sabbath, only two performers at Back To The Beginning were of Osbourne's generation: Aerosmith's Steven Tyler and Sammy Hagar, who once fronted Van Halen, the band that blew a haggard Sabbath off the stage in the late 1970s. From Metallica and Guns N' Roses through Tool and Rage Against The Machine's Tom Morello to Gojira and Rival Sons, everybody on the bill came of age during an era where Ozzy was a star in his own right, a madman known for his excesses as much as his music. Time has softened the memories of Osbourne's '80s debauchery, a process assisted by the singer starring alongside his family in The Osbournes, the pioneering reality TV program that reconfigured Ozzy as a beleaguered sitcom dad. The show highlighted Ozzy's frailty and foibles, along with a sense of humor that split the difference between accidental and purposeful. The genius of The Osbournes is how it tapped into a central truth about Ozzy Osbourne: Beneath the tattoos and pentagrams lay something human, even lovable. The notion that Ozzy Osbourne could be lovable was utterly alien when The Osbournes premiered in 2002, which is a testament to the power of his music. Like all great rock stars, Osbourne's art was inextricable from his persona. When Black Sabbath arose from the primordial heavy rock underground in the early 1970s, Ozzy sang with a piercing wail that suggested he was haunted by something intangible and unknown. He harnessed that gothic horror as a solo artist, lending a steely edge to his metallic rock that seemed alternately menacing and comical. Once he separated from Sabbath, the dangerous side subsumed Osbourne to the point that it was difficult to discern truth from fiction. During the 1980s, urban legends of Ozzy biting the heads off bats and doves rivalled the popularity of 'Crazy Train' and 'Mr. Crowley,' songs whose very titles teased an immersion in insanity and the occult. The idea of Ozzy Osbourne became greater than the music itself: Throughout the 1980s, he was the flashpoint for rock decadence, as much a guiding light as a cautionary tale. It also helped that Osbourne had a knack for picking guitarists, discovering legions of shredders that gave shape to metal in the 1980s. Chief among these was Randy Rhoads, the classically trained guitarist who died in 1982, just after he helped Osbourne make Blizzard Of Ozz and Diary Of A Madman, the albums that established Ozzy as a force outside of Black Sabbath. Those two records were so strong, they sustained Osbourne through a decade plagued by indulgence that slowly crept into the confines of the studio. They, alongside the first four albums by Black Sabbath, are at the core of Ozzy Osbourne's musical legacy, the albums that shaped the sound of heavy metal. Subsequent generations of rockers discovered new worlds lying within Ozzy's music, taking metal in places Osbourne never cared to explore. The definition of a rock 'n' roll lifer—he died less than three weeks after playing his final concert—he chose perseverance over innovation, sticking to the blend of high-octane rockers and power ballads he sketched out at the beginning of his solo career. Some hits came his way: In 1991, he even broke into the Billboard Top 40 with 'Mama, I'm Coming Home,' a reflective number whose vocal harmonies tipped a hat to his beloved Beatles. Most of the time, he played to the devoted, an audience thrilled at the simple fact that he survived the madness. 'Mama, I'm Coming Home' was part of Osbourne's solo set list at Back To The Beginning, the only song he played that dated past 1981. Thematically, it fits: Even in 1991, when Osbourne was just barely into his forties, it played like a summation. In the context of Back To The Beginning, its inclusion couldn't help but seem like a deliberate goodbye, especially with Osbourne confined to a throne due to health issues; the end seemed imminent, if maybe not quite as close as it turned out to be. Back To The Beginning didn't end there, though. Osbourne stormed through 'Crazy Train' before joining the rest of the original lineup of Black Sabbath for four songs, opening with the pummeling 'War Pigs' before closing strong with 'Iron Man' and 'Paranoid,' a pair of songs that seem impervious to death. All of Black Sabbath, all on the far side of 70, summoned their dark spirit, not so much sounding young as defiant. This was especially true of Ozzy, who still commanded attention even as he sat on his throne. The visual of the throne was a suitable final spectacle, playing into the horror movie element of Black Sabbath, emphasizing how Ozzy could treat his role as a rock singer as a bit of a carnival barker. Perhaps it didn't carry an element of danger, but it was savvy showmanship that stayed true to the Osbourne that became a beloved cultural figure. There was no more metal way to say farewell. More from A.V. Club Adam Sandler's at least shooting par with Happy Gilmore 2 E! News gets the axe again Resident Alien canceled after four seasons Solve the daily Crossword
