
Ozzy Osbourne 1948-2025: A life in pictures
, who has
died at the age of 76
, was best known as the frontman of Black Sabbath.
At the forefront of the heavy metal scene, Osbourne had a theatrical stage presence, once biting off the head of a bat and styling himself as the Prince of Darkness.
Black Sabbath's eponymous debut album in 1970 made the UK top 10 and paved the way for a string of hit records.
They went on to become one of the most influential and successful metal bands of all time, selling more than 75 million albums worldwide.
READ MORE
Earlier this month Osbourne bid farewell to fans with a Black Sabbath reunion, telling thousands of heavy metal enthusiasts at Villa Park, Birmingham that it was 'so good to be on this stage' as he performed his last set from a large black throne.
Here is a selection of photographs capturing his music career and life.
Black Sabbath, 1970s: Geezer Butler, Tony Iommi, Bill Ward and Ozzy Osbourne. Photograph: Chris Walter/WireImage
Ozzy Osbourne with his wife, Sharon, and children Kelly and Jack. Photograph: Ian West/PA Wire
Ozzy Osbourne on stage with Ricky Martin, Rod Stewart and Cliff Richard during the Golden Jubilee concert at Buckingham Palace in 2002. Photograph: Stefan Rousseau/PA Wire
Ozzy Osbourne arriving for the UK Music Hall Of Fame in 2005. Photograph: Yui Mok/PA Wire.
Ozzy Osbourne performing during the Black Sabbath The End Tour in August 2016. Photograph: Kevin Mazur/WireImage/Getty Images
Ozzy Osbourne performing at the Birmingham 2022 Commonwealth Games closing ceremony. Photograph:Ozzy Osbourne with his wife, Sharon, and children Kelly, Jack and Aimee at the Kerrang Awards 1997 in London. Photograph: Neil Munns/PA Wire
Ozzy Osborne with his wife, Sharon, and Ant McPartlin (left) and Declan Donnelly (right) at the Royal Albert Hall in London, 2004. Photograph: Myung Jung Kim/PA Wire
Ozzy Osbourne with his wife, Sharon, and daughter, Kelly arriving at the Hertfordshire home David Beckham and his wife Victoria for their pre-World Cup party in 2006. Photograph: Chris Radburn/PA Wire
Geezer Butler, Tommy Iommi and Ozzy Osbourne from Black Sabbath in 2013. Photograph: Ian West/PA Wire
Ozzy Osbourne and Kermit the Frog backstage for a concert to commemorate the Golden Jubilee of Queen Elizabeth II. Photograph: Peter Jordan/PA Wire
Ozzy Osbourne performing in 2022 in Birmingham. Photograph: David Davies/PA Wire
- Additional reporting PA, AP
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RTÉ News
7 hours ago
- RTÉ News
BBC to air hour-long documentary titled Ozzy Osbourne: Coming Home
A one-off, hour-long documentary that is a "moving and inspirational account of the last chapter" of Ozzy Osbourne's life is to air on the BBC. The Black Sabbath frontman died aged 76 on 22 July from a reported heart attack, just weeks after reuniting with the band on stage as part of The Back To The Beginning farewell concert in Birmingham. Titled Ozzy Osbourne: Coming Home, the programme will air on BBC iPlayer and BBC One on 18 August at 9pm, and is told through "unique and intimate access to the whole Osbourne family", including wife Sharon, and children Kelly and Jack. The programme has been filmed over three years and "captures the extraordinary rollercoaster of their lives" as the famous couple "attempt to complete their long-held dream of moving back to the UK", the BBC said. It also captures musician Ozzy as he "heroically battles to get fit enough to perform" and the family dealing with "the dramatic consequences of his ill health", with Kelly quoted as saying in the film: "Iron Man wasn't really made of iron." Clare Sillery, head of commissioning, BBC Documentaries, said: "We are honoured to have had the opportunity to film with Ozzy and his family. "The film captures an intimate glimpse into their journey as they prepare to return to the UK. "It features family moments, humour, reflection and shows the enduring spirit that made Ozzy a global icon. "We hope it brings comfort and joy to Ozzy's fans and viewers as they remember and celebrate his extraordinary life." Ben Wicks and Colin Barr, executive producers at production company Expectation, said: "It was an incredible privilege to spend the last few years with Ozzy, as well as Sharon, Jack and Kelly. "Ozzy wanted to make it back to the UK and appear on stage one last time – our film is an inspiring and poignant account of him fulfilling that dream. "Ozzy was loved by millions around the world not just for his music, but for his sense of mischief and his honesty, all of which we saw plenty of in the final years of his life. "But one thing shone through even more brightly to us, and that was Ozzy's intense love for his exceptional family who were by his side through it all." The film was originally conceived as a series, announced in 2022 and called Home To Roost, and which was to document Ozzy and Sharon's move back from the US, where they had lived for more than two decades, to rural Buckinghamshire. But the project "evolved as Ozzy's health deteriorated" into the one-hour film, the BBC said. Last month, fans gathered alongside Ozzy's family to pay tribute to the star as a funeral cortege travelled through Birmingham. Sharon and the couple's children could be seen wiping away tears when they arrived at the Black Sabbath bench, where thousands of tributes, balloons and flowers were left. Musicians from Bostin Brass played Black Sabbath songs to accompany the cortege, and fans threw flowers at the hearse as it slowly passed through the city.


Irish Times
10 hours ago
- Irish Times
MasterChef 2025 review: The cursed 21st season has made it to air with all hint of flavour removed
If you think RTÉ has had a rocky few years, spare a thought for the BBC , which has suffered through a series of crises that put ' Tubsgate ' and other Montrose embarrassments in the shade. There was the furore over former Match of the Day presenter Gary Lineker's tweets about refugees . Then, a social media meltdown after the BBC's live Glastonbury coverage excluded Kneecap only to spotlight the far more incendiary Bob Vylan . And finally, the pièce de résistance – the radioactive fallout over complaints of inappropriate behaviour against matey MasterChef mainstay Gregg Wallace . He is now very much an ex-MasterChef mainstay after an independent report upheld 45 out of 83 complaints by 13 women who accused Wallace of inappropriate sexual language, cultural insensitivity and an incident of unwelcome physical contact. Joining him in the recycling bin is co-host John Torode – who was dropped for using 'racist language' in a social setting, of which he says he had 'no recollection'. In the normal course, such a litany of complaints would have seen any unaired material binned, never to see daylight. The problem with MasterChef (BBC One, 8pm) is that it isn't about the presenters but the contestants, who have slogged themselves silly to prove they are the best amateur cooks in Britain. Fair enough – cast Wallace and Torrode into the wilderness. But is it reasonable to chuck out the participants with them? Not everyone involved is delighted that the series is making it to air. One contestant, Sarah Shafi, felt strongly that the season should be canned – though in the end, the furthest the BBC would go was to edit her out of the opening episode, which she felt didn't go far enough. 'I didn't say edit me out,' Shafi said. 'I said: 'Axe the show, don't air the show. I'm asking you not to air the show.' Prominent figures have been abusing their power. What message does that send out to women? READ MORE 'For me, it's about the enabling environment. It's that complicity. Those individual powerful men do not [act] in isolation. There is an enabling environment, turning a blind eye … It's about years of these institutions not being accountable.' That's quite a starter course of controversy. But now the main dish – the first episode of the cursed 21st season has finally made it to the air, with Wallace and Torode present and correct, and the hopefuls (minus Shafi) toiling over their hobs. However, anyone tuning in hoping for a whiff of brimstone will be underwhelmed: the BBC has decided to take the sting out of MasterChef by expunging any suggestion of a pulse from proceedings They have done so by minimising Torode and Wallace's screen time and stripping away every trace of banter or bonhomie. They just stand there banging on about flavours and curries and the ticking clock: replace them with two of the masked guards from Squid Game and the experience would have been much the same. 'What do you want from this competition? Why are you here?' Wallace asks New Zealander Penelope early on in one of his few exchanges with the punters. Later, he exclaims… 'Indonesian curry… yeah! That's a crowd pleaser.' Torode says even less, and the hosts are pushed further into the background halfway through as three of 2024's finalists are brought on to help with the judging. [ What does the future hold for popular BBC show Masterchef? Opens in new window ] The Wallace scandal has placed the BBC in an impossible position. Canning MasterChef would have meant crushing the dreams of (most of) this year's contestants. But by airing it, it has left itself open to charges of minimising the accusations against the hosts. Its muddled middle way has been to trim the broadcast to remove all hint of flavour. What's left is a mealy, undercooked hodgepodge – as bland as over-boiled potatoes, and with all the thrill of a triple serving of Brussels sprouts.


Irish Times
13 hours ago
- Irish Times
London's most controversial restaurant, where the Irish chef takes only cash and has no website
The Yellow Bittern Address : 20 Caledonian Road, London, N1 9DU, England Telephone : 0044-2033422162 Cuisine : Irish Website : Cost : €€€ There's Burgundy by the glass for Bloomsday, and with it, a small Joycean crisis: could the food in Ulysses shape the menu too? A Gorgonzola sandwich seems unlikely, which leaves grilled mutton kidneys with 'a fine tang of faintly scented urine'. The Yellow Bittern, the 18-seater, lunch-only restaurant opened by Belfast-born chef Hugh Corcoran – which quickly became the most controversial restaurant in London – was just the sort of place to have this on the menu. Not long after it opened in late 2024, The Yellow Bittern triggered a storm. No card machine, no online booking, cash only. When Corcoran posted about diners treating the place like 'a public bench', a table of four nursing two mains and a single starter, some saw it as principled, others as combative. But it revealed something simpler – discomfort with a restaurant that asked for your presence. Corcoran runs the kitchen, drawing on six years of cooking in the Basque Country and four years in Paris. He owns the restaurant with two friends – Lady Frances von Hofmannsthal (née Armstrong-Jones), who looks after the room and also publishes Luncheon magazine, and Oisín Davies, who bakes the bread. READ MORE Lady Frances von Hofmannsthal and Hugh Corcoran. Photograph: Peter Flude/The New York Times Some rooms carry a feeling that goes beyond what's in them. It isn't just the colour on the walls – though here, it's the yellow of unsalted butter – or the light, which is soft and forgiving. It's something less visible. You cross the threshold and feel yourself ease. There are white paper tablecloths with small jars of loosely arranged rosebuds, buttercups and daisies. Pictures are mismatched – a map of Ireland, black-and-white prints of Samuel Beckett, Brendan Behan and Lenin – hung with casual care. The kitchen is visible from our table, the two chefs chatting quietly as they plate at the counter, a few pots, a single stove, and shelves of glassware. There's a gentleness to the room – as if someone had made it with the hope that you might read more Elizabeth David . A blackboard lists the day's dishes, written in cursive chalk beneath the date '16th June, 1904′. There's egg mayonnaise, ox tongue with green sauce, seafood chowder, hotpot, beef and parsnip pie for two, and three desserts. The Dublin Coddle has generated a lot of buzz. Photograph: Peter Flude/The New York Times There's no printed wine list – Corcoran pours what he loves, then talks you through it. It feels generous, not prescriptive. But it's a hot day, so it will be water (£4) and wine by the glass (£10) – a Savoie white, a cloudy Loire chenin, and a bright young Burgundy – all poured generously. [ Baba'de restaurant review: You won't eat like this anywhere else in Ireland Opens in new window ] Lunch begins with half-moons of boiled egg (£9), firm yolks just giving way, on a thick spoon of yellow mayonnaise. The mayonnaise tastes like it was made minutes before, and the eggs are cold – not chilled. It makes a strong case for the underrated brilliance of boiled eggs and emulsified fat. Waxy new potatoes – properly salted and cooked to a tender firmness – are tumbled with green peas and long stalks of watercress (£14), lightly dressed. We relax into the room, into its friendly blur of talk – a mix of tourists and regulars – as we wait for our mains. Corcoran is in deep conversation with a table for four, opening bottles he ordered with them in mind. The Yellow Bittern, located near London's King's Cross train station. Photograph: Peter Flude/The New York Times The seafood chowder (£20) reveals itself as quiet comfort, cloaked in herbs and cream: chunks of white fish and scallops, with greens and soft potato, all held in a butter-light sauce. The balance, the restraint, the seasoning – it speaks of someone who cooks with quiet precision and no urge to show off. The Lancashire hotpot (£25) appears. Slices of potato browned at the edges sit over pieces of tender lamb, carrots, peas and onions. The broth is thin but full of depth, slow-cooked with assurance. We order dessert, then Lady Frances reappears about 15 minutes later with an apology. The soufflé has not turned out as planned, they will not be serving it. Would we like something else? At the next table a spoon cracks the brûlée, its top evenly torched. But today feels like a day for strawberries (£9), a bowl of hulled berries lounging in a pool of red wine. For the most controversial restaurant in London, The Yellow Bittern is disarmingly lovely. There's no pretension. The pricing is honest, the wines are poured with generosity and a modest profit, and the people are kind. If this is radical – asking you to be present, to pay fairly, to take your time – then maybe we need more of it. Lunch for two with two bottles of water and three glasses of wine was £115 (€130). The verdict Just go. Book the 2pm sitting and have a glorious long lunch with your pals. Food provenance Henderson's fish and shellfish, Swale Dale beef, vegetables from Shrub and garden, and Mike's Fancy Cheese. Vegetarian options Limited. Wheelchair access No accessible room or toilet. Music None.