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'The Osbournes' changed Ozzy's image from grisly to cuddly, and changed reality TV

'The Osbournes' changed Ozzy's image from grisly to cuddly, and changed reality TV

LOS ANGELES (AP) — There was Ozzy before 'The Osbournes' and Ozzy after 'The Osbournes.'
For much of his life, the Black Sabbath founder and legendary heavy metal frontman who died at 76 on Tuesday was known to much of the public as a dark purveyor of deeds ranging from decadent to downright Satanic.
Wild stories followed him. Clergy condemned him. Parents sued him.
But with the debut of his family reality show on MTV, the world learned what those who'd been paying closer attention already knew: Ozzy Osbourne was soft and fuzzy under the darkness.
During its relatively short run from 2002 to 2005, 'The Osbournes' became a runaway hit and made stars of his wife Sharon and kids Jack and Kelly. But more than that, it made a star of the domesticated version of Ozzy Osbourne, and in the process changed reality TV.
In 2025, when virtually every variety of celebrity has had a reality show, it's hard to see what a novelty the series was. MTV sold it as television's first 'reality sitcom."
'Just the idea of the Black Sabbath founder, who will forever be known for biting the head off a bat during a 1982 concert, as a family man seems strange,' Associated Press Media Writer David Bauder wrote on the eve of 'The Osbournes' premiere. But on the show, Osbourne was "sweetly funny — and under everything a lot like the put-upon dads you've been seeing in television sitcoms for generations.'
Danny Deraney, a publicist who worked with Osbourne and was a lifelong fan, said of the show, "You saw some guy who was curious. You saw some guy who was being funny. You just saw pretty much the real thing.'
'He's not the guy that everyone associates with the 'Prince of Darkness' and all this craziness,' Deraney said. "And people loved him. He became so affable to so many people because of that show. As metal fans, we knew it. We knew that's who he was. But now everyone knew.'
Reality shows at the time, especially the popular competition shows like 'Survivor,' thrived on heightened circumstances. For 'The Osbournes,' no stakes were too low.
They sat on the couch. They ate dinner. The now-sober Ozzy sipped Diet Cokes, and urged his kids not to indulge in alcohol or drugs when they went out. He struggled to find the History Channel on his satellite TV. They feuded with the neighbors because, of all things, their loud music was driving the Osbournes crazy.
'You were seeing this really fascinating, appealing, bizarre tension between the public persona of a celebrity and their mundane experiences at home,' said Kathryn VanArendonk, a critic for Vulture and New York Magazine.
The sitcom tone was apparent from its first moments.
'You turn on this show and you get this like little jazzy cover theme song of the song 'Crazy Train,' and there's all these bright colors and fancy editing, and we just got to see this like totally 180-degree different side of Ozzy which was just surprising and incredible to watch," said Nick Caruso, staff editor at TVLine.
Like family sitcoms, the affection its leads clearly had for each other was essential to its appeal.
'For some reason, we kind of just fell in love with them the same way that we grew to love Ozzy and Sharon as like a marital unit," Caruso said.
What was maybe strangest about the show was how not-strange it felt. The two Ozzies seemed seamless rather than contradictory.
'You're realizing that these things are personas and that all personas are these like elaborate complex mosaics of like who a person is,' VanArendonk said.
'The Osbournes' had both an immediate and a long-term affect on the genre.
Both Caruso and VanArendonk said shows like 'Newlyweds: Nick and Jessica,' which followed then-pop stars Jessica Simpson and Nick Lachey after they married, was clearly a descendant.
And countless other shows felt its influence, from 'The Kardashians' to 'The Baldwins' — the recently debuted reality series on Alec Baldwin, his wife Hilaria and their seven kids.
''The Baldwins' as a reality show is explicitly modeled on 'The Osbournes,' VanArendonk said. 'It's like you have these famous people and now you get to see what their home lives are like, what they are like as parents, what they're eating, what they are taking on with them on vacation, who their pets are, and they are these sort of cuddly, warm, eccentric figures.'
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Oasis dedicate song to Ozzy Osbourne as they begin series of gigs in London
Oasis dedicate song to Ozzy Osbourne as they begin series of gigs in London

Yahoo

time37 minutes ago

  • Yahoo

Oasis dedicate song to Ozzy Osbourne as they begin series of gigs in London

Oasis dedicated one of their hits to the late rocker Ozzy Osbourne as they made a triumphant return to London for a series of gigs as part of their world tour. Liam Gallagher told tens of thousands of fans of his pride as the band graced the stage at Wembley Stadium for the first time in more than a decade. Just three songs into their much-anticipated appearance, he declared the crowd was 'f****** beautiful', having bowed to the sea of raised arms before him. Liam and brother Noel played with their band for the first of seven nights at the stadium on Friday – with five shows over the next week and two more scheduled in September. It was the first time they had appeared together onstage at the London venue since July 12 2009, when they performed during their Dig Out Your Soul tour. Towards the end of the gig, they paid tribute to Osbourne. Lead singer Liam said: 'I wanna dedicate this one to Ozzy Osbourne, rock 'n' roll star.' The Black Sabbath star's death at the age of 76 was announced earlier this week. Oasis superfans in bucket hats and branded T-shirts had packed the Tube en route to the gig from earlier in the day, with international accents denoting the band's worldwide popularity. As with previous gigs Liam and Noel walked onstage hand in hand, opened with Hello and proceeded to belt out many of their classics including Some Might Say and Morning Glory. The packed-out stadium was in full voice throughout and at one point Liam threw a tambourine into the jubilant crowd, while later positioning one on top of his head. Despite pledging to concentrate on his vocals rather than talking – telling those gathered 'every time I open my mouth at these gigs I seem to get myself into a lot of trouble so I'm just going to do the singing' – Liam later engaged in some light football banter. The well-known Manchester City fan appeared to poke fun at Arsenal fans in the crowd, joking about their position in the Premier league. Phone camera torches lit up the stadium as darkness fell and crowd-pleasers Wonderwall, Don't Look Back In Anger and Champagne Supernova closed the gig. At various points Noel thanked the crowd, with Liam telling them they had been 'amazing', ahead of fireworks erupting into the London sky. Friday's show – the eighth of the tour – followed a five-night run of homecoming gigs in Manchester's Heaton Park and the two opening shows in Cardiff earlier this month. Following the first part of their Wembley stint, the band will head up north to Edinburgh's Murrayfield Stadium followed by Dublin's Croke Park. The group will head to Japan, South Korea, South America, Australia and North America later in the year. Oasis announced their reunion tour in August of last year – 16 years after their dramatic split in 2009 which saw Noel quit following a backstage brawl at the Rock en Seine festival in Paris. While fans were excited at the Britpop band's reunion, many were left outraged after some standard tickets in the UK and Ireland jumped from £148 to £355. The controversy prompted the Government and the UK's competition watchdog to pledge to look at the use of dynamic pricing.

The science behind why Black Sabbath and Ozzy Osbourne's music sounded ‘satanic'
The science behind why Black Sabbath and Ozzy Osbourne's music sounded ‘satanic'

National Geographic

time40 minutes ago

  • National Geographic

The science behind why Black Sabbath and Ozzy Osbourne's music sounded ‘satanic'

Black Sabbath performs during their Heaven and Hell tour in 1980. The band helped revive the long-feared 'Devil's interval'—a dissonant sound once shunned by medieval choirs—as the backbone of heavy metal. PhotographThe idea that two simple notes—not a song, just tones—could be 'banned' may seem ludicrous. But that's the legend behind the crushing opening riff of Black Sabbath's 1970 debut. With just three ominous notes, guitarist Tony Iommi, alongside the anguished vocals of the late Ozzy Osbourne, unleashed a sound so unsettling it was said to have been forbidden for centuries.'Those notes were banned many years ago,' Iommi told the BBC in 2014. 'It's supposed to have been a satanic thing.' While rock legend has never been the most reliable (see: Ozzy and the bat), this one does have a whisper of truth. Black Sabbath recruited what music theorists refer to as the 'tritone,' —a dissonant interval once avoided by medieval choirs and now known in music lore as the 'devil's interval.' Also referred to as the augmented fourth, diminished fifth, or sharp eleven, the tritone spans three whole tones on a scale, creating a clashing, unstable sound that has long made listeners squirm. But what is it about this ancient musical interval that has unnerved audiences for centuries—and why does it still strike such a primal chord? A history of the 'clang' Despite its sinister nickname, the tritone was never officially banned in the Middle Ages, though it may as well have been. In the stew of compositional standards of the time, this dissonant tonal interval was merely an unpalatable ingredient, but served in a supremely important dish. 'In medieval and Renaissance music theory, which was often characterised by mathematical and philosophical principles of harmony, the tritone did not fit well into the system of 'perfect' intervals due to its complex frequency ratios,' says Christoph Reuter, professor of systematic musicology at the University of Vienna. Guido d'Arezzo, an 11th-century Benedictine monk and music theorist, developed the hexachord system to help singers navigate early notation and to avoid the dissonant tritone. Photograph by VTR, Alamy Stock Photo Named for medieval theorist Guido d'Arezzo, the Guidonian Hand was a mnemonic device for teaching musical intervals. This version appears in Scienta Artis Musicae, a 1274 treatise by Helia Solomon. Photograph by Giancarlo Costa, Bridgeman Images One reason for this concerns the relationship between 'scales' and 'modes', the latter of which gives music much of its character. Major scales such as C, for instance, begin on their namesake note. But play the same scale from a different starting point, and it suddenly takes on a very different, but still musical, flavour. These flavors are called modes. Begin a C Major scale on a D, for instance, and you're using the jazzy-sounding 'Dorian' mode. Start it a note up, on an E, and you're in the exotic ambience of the 'Phrygian' mode. The Aeolian mode, starting on A, creates a somber, minor key atmosphere. But one mode stood out for all the wrong reasons. Things got thorny with the Locrian mode. Built on the seventh note of a major scale—in this case, starting on B in a C major scale—it places unusual emphasis on the interval between B and F. The result is a scale that feels unstable, unresolved, and, to many ears, vaguely threatening. This was more than a matter of taste. In the Middle Ages, modes were the backbone of choral compositions, used to pitch a choir in harmony. As Reuter explains, not only did the tritone contravene the ideal of musical beauty, but it was also hard. 'It was simply difficult to sing purely—especially in a cappella choral works, which were widely used in the church.' Limited Time: Bonus Issue Offer Subscribe now and gift up to 4 bonus issues—starting at $34/year. (The hellish history of the devil.) That difficulty likely gave rise to one of music theory's most ominous warnings: mi contra fa diabolus est in musica, or 'mi against fa is the devil in music.' Referring to the Medieval system of music developed by Guido of Arezzo in the 11th century, 'mi against fa' refers to the dissonance between two tritone notes in overlapping compositions, with the 'devil' likely referencing its tendency to cause mistakes or generally meddle with choral delicacy. At a time when music was meant to reflect divine order, such instability struck a deeply discordant note. But uncomfortable tonal combinations weren't isolated to Western music. Many cultural styles—from the Middle East to Japan—had their own 'forbidden' tonal conventions, and different reasons for shunning them. Similarly to Western modes, certain Indian ragas omit certain combinations of notes—the varjya svaras—in their compositions, as certain notes are prone to unbalancing this intensely mood-driven music. Traditional Japanese music, such as gagaku, is often played in formal settings, employing tonal combinations that were sympathetic to the conventions of ma (negative space) and wa (unity), thereby avoiding discordant tones. By contrast, the Arabian maqam system embraces tonal combinations that Western ears might label dissonant. Its use of microtones and quarter-steps creates melodic tension and release through an entirely different framework of rules. So is the discomfort we feel from dissonance—like the tritone—truly universal? Maybe not. A 2016 study found that members of the Tsimane', an Indigenous community in Bolivia with limited exposure to Western culture, didn't find dissonant chords any less pleasant to listen to than their more pleasing counterparts. Isabella Czedik-Eysenberg of the University of Vienna believes this shows that 'while dissonant intervals such as the tritone have distinct psychoacoustic properties, the emotional and symbolic meanings attached to those–such as being associated with 'evil'–are likely culturally learned.' This 1970 publicity photo shows Black Sabbath early in their career, shortly before their sound helped shape the heavy metal genre. Photograph by MichaelBlack Sabbath's self-titled debut album, released in 1970, opens with the ominous tritone riff that helped define heavy metal's dark, dissonant sound. Photograph by MichaelWhy does the tritone sound so unsettling? One reason is auditory roughness—the jagged, irregular quality of a sound that our brains often associate with danger, says Czedik-Eysenberg 'Roughness is a particularly interesting audio quality—research indicates it can play a role in communicating danger [and is] a key feature in biologically salient alarm signals, such as human screams,' she notes. 'But auditory roughness also plays a very important part in the perception of extreme vocal techniques used in metal genres. Guttural and harsh vocal styles, for example, are often described by listeners as brutal, monstrous, or demonic.' But how we respond to sound isn't just biological—it's shaped by experience. 'Our responses to sound arise from the nervous system that broadly speaking we all have in common—but context is everything,' says Victoria Williamson, a music psychologist and co-founder of the sound wellness app Audicin. 'Some frequencies and sound textures are more difficult for the human inner ear and brain to process, a physiological clash that can trigger reactions from overstimulation to stress, disgust and even pain.' 'However,' Williamson adds, 'our psychological reaction to sound is predicated on what we have been exposed to during our lifetime and the associations we have created. That is 100 percent unique to each of us.' Back in 17th-century Europe, that exposure was changing. While medieval music prized harmony and order, the Baroque period embraced contrast and emotion. By the Classical era, it had appeared in works by Bach, Beethoven, and Wagner, among others, often to evoke drama or darkness. In Camille Saint-Saëns's Danse Macabre, the tritone famously opens the piece with a musical scythe swing. (Here's how Beethoven went from Napoleon's biggest fan to his worst critic.' Since then, the 'devil's interval' has appeared everywhere—from the theme of The Simpsons to the sirens that jolt us into high alert. And in 1970, Black Sabbath picked it up again, building the haunting foundation of heavy metal on its dissonant tension. 'Black Sabbath music will trigger the deep emotion centers of the brain like the amygdala, but rather than experience fear or discomfort the listener is drawn in. In theory it makes no sense,' says Victoria Williamson. 'The more this music drives the release of emotion and stress, the more it will trigger the reward and motivation centres of the brain like the ventral tegmental area, nucleus accumbens and the prefrontal cortex. Over the years the brain will get used to the dopamine rush it gets in the presence of this music. This can help explain why Black Sabbath fans have been so intensely loyal over the decades.'

Kelly Osbourne pays tribute to father Ozzy, 'the best friend I ever had'
Kelly Osbourne pays tribute to father Ozzy, 'the best friend I ever had'

Yahoo

time42 minutes ago

  • Yahoo

Kelly Osbourne pays tribute to father Ozzy, 'the best friend I ever had'

Ozzy's ex-daughter-in-law also posted a heartfelt tribute to the late rocker, who was a beloved grandfather. Kelly Osbourne paid tribute to her father, Ozzy, on Thursday, sharing poignant lyrics from a song the two recorded together before he died at the age of 76 following a battle with Parkinson's disease. 'I feel unhappy I am so sad. I lost the best friend I ever had 💔,' Kelly wrote in a post to Instagram. These are lyrics from the Black Sabbath song 'Changes,' released in 1972 but recorded by Kelly and Ozzy as a duet in 2003, with revised lyrics that showed their strong father-daughter bond. Earlier this month, Osbourne performed what was dubbed his 'final bow' from a throne at Villa Park in the U.K. After the show, Kelly became engaged to her longtime partner, musician Sid Wilson of the band Slipknot, after he got down on one knee backstage. Kelly shared a video of the engagement on Instagram, during which you can hear Ozzy say to Wilson: 'F*** off, you're not marrying my daughter!' which was met with laughs. Wilson and Kelly welcomed a son named Sidney in 2022. More of Osbourne's loved ones have started to post personal tributes to the heavy metal icon, who lived with Parkinson's disease until he died on July 22. Lisa Stelly, who was married to Osbourne's son Jack from 2012 to 2019, posted an emotional tribute to her ex-father-in-law on Instagram, honoring him as a loving grandfather. Jack and Stelly had three daughters while they were married: Pearl, Andy and Minnie. 'The world got Ozzy. We got Papa,' Stelly wrote in the caption. 'One of one. Larger than life. It hurts to say goodbye, but what a gift it was to have him. We will never stop missing you.' The post gives a softer look at the 'Prince of Darkness,' who is smiling as he holds one of his young grandchildren. The post also includes a video of him playfully dodging kisses from one of his grandchildren as she giggles. Other images show the Black Sabbath frontman puckering up for a kiss, cuddling two kiddos at once on a couch and sitting at an outdoor table with Stelly. After Osbourne died, the Osbourne family released the following joint statement signed by wife Sharon and their children Kelly, Jack, Aimee, as well as his son Louis from his prior marriage to Thelma Riley: '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.'

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