Ozzy Osbourne's hometown mourns singer
Osbourne was diagnosed with Parkinson's disease in 2019 and played Black Sabbath's farewell gig in his home city earlier this month.
Ian Marshall, from Cardiff, came to Birmingham on Tuesday to celebrate his 52nd birthday and was doing the Black Sabbath tour along with his daughter, Erin, and her boyfriend, Tyler.
Mr Marshall, who said he had loved Sabbath for probably more than 35 years, said Osbourne had "a life lived".
The group had visited a mural of the group and Mr Marshall was having his photo taken there when he heard the news.
He said: "He's done everything to excess and he's had the most fantastic life anybody could ever have and I think he's brought so much joy to so many heavy metal fans."
Donna Ford and Sue Peters were in a pub, Old Still in Wolverhampton, when they heard the news.
They said the pub stopped the karaoke and played Changes, a minute's silence was held and everybody raised a glass.
Speaking at the Black Sabbath bench on Broad Street in the city, they said they bought some flowers and brought them down.
Birmingham-based Jim Simpson, Black Sabbath's first manager, said Osbourne "was always one of the good guys".
He added: "[He was] a really sweet man, a really sweet natured man and always a pleasure to be with."
Mr Simpson said the last time he spent time with him was when Osbourne was given his star on Birmingham's Broad Street.
"We had tea together in the green room which was in the [International Convention Centre] across the street, just him, me and his two aunties and he was lovely towards them.
"It was: 'Auntie, would you like another cup of tea?'
"This was not the bat head biting off Ozzy Osbourne that the world knows."
Aston Villa FC, whose stadium Osbourne played his final gig in earlier this month, said they were saddened to learn that the "world-renowned rockstar and Villan" had passed away.
The club added: "Growing up in Aston, not far from Villa Park, Ozzy always held a special connection to the club and the community he came from."
Birmingham Children's Hospital and Charity said Ozzy had "an incredible career and life, but never forgot his Brummie roots".
"Our hospital was extremely lucky to have his support over the years and most recently with his iconic final performance, which will leave a lasting legacy for our sick kids."
It added the hospital had "lost a friend, Birmingham a son and the world a musical legend".
Central BID (Business Improvement District) Birmingham said he was "a true icon and a beloved son of Birmingham".
"Ozzy's legacy has touched every corner of the globe, but his heart never left our city.
"From his groundbreaking days with Black Sabbath to his solo success, Ozzy helped shape the sound of modern music and carried Birmingham's name with pride throughout his extraordinary career.
"Birmingham has lost a legend, but his voice, his spirit, and his story will live on."
Lyle Bignon, a night-time economy ambassador based in Birmingham, said: "From Birmingham working class roots to fronting one of the world's biggest bands, creating a whole new genre in the process, Ozzy's place in popular music and culture is forever sealed.
"To return to the city with his original bandmates for the final Back To the Beginning show just weeks ago was a coup de grace that few artists will ever match."
Pop culture convention Comic Con Midlands, where Osbourne met fans weeks ago, said he was not just a rock star, he "was a piece of Birmingham's soul, and his impact on music, culture, and generations of fans will live on forever".
It said: "To have Ozzy with us a couple of weeks ago, here in Birmingham where it all began for him, was an unforgettable honour."
Birmingham City University, which posted images on X from June at the Freedom of the City event in recognition of Black Sabbath's connection to Birmingham, said he was a "Brummie legend".
The university added "the Prince of Darkness... put our city on the map".
Follow BBC Birmingham on BBC Sounds, Facebook, X and Instagram.
Wild life of Ozzy Osbourne, rock's 'prince of darkness'
Film of Black Sabbath farewell to release in 2026
Ozzy Osbourne goes out on a high at farewell gig
Artist's surprise gift as Ozzy visits new mural
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Forbes
24 minutes ago
- Forbes
Horror Hit '28 Years Later' New On Streaming This Week, Report Says
Aaron Taylor-Johnson and Alfie Williams in "28 Years Later." Aaron Taylor-Johnson, Jodi Comer and Ralph Fiennes' hit horror thriller 28 Years Later is reportedly coming to digital streaming this week. The third film in the horror film series that began with 28 Days Later in 2002, 28 Years Later reunites the original film's director, Danny Boyle, and its screenwriter, Alex Garland. The film was released in theaters on June 20. The summary for 28 Years Later reads, 'It's been almost three decades since the rage virus escaped a biological weapons laboratory, and now, still in a ruthlessly enforced quarantine, some have found ways to exist amidst the infected. One such group of survivors lives on a small island connected to the mainland by a single, heavily-defended causeway. 'When one of the group leaves the island on a mission into the dark heart of the mainland, he discovers secrets, wonders and horrors that have mutated not only the infected but other survivors as well.' According to When to Stream, 28 Years Later is expected to debut on digital streaming via premium video on demand on Tuesday, July 29. While the streaming tracker is typically accurate with its PVOD reports, When to Stream noted that 28 Years Later Sony Pictures Entertainment has not announced or confirmed the release date and it is subject to change. When it is released, 28 Years Later will be available on several digital platforms, including Apple TV, Fandango at Home, Prime Video and YouTube. Prime Video currently has 28 Years Later listed for pre-order for $24.99, which is also the film's purchase price on PVOD. Since PVOD rentals typically run $5 less than purchase prices, viewers can expect to rent 28 Years Later for $19.99 for a 48-hour period. The film is still playing in theaters. So far, 28 Years Later has earned $70 million domestically and $80 million internationally for a worldwide box office tally of $150 million. The film had a $60 million production before prints and advertising costs, per The Numbers. Danny Boyle Says '28 Years Later' Is Not A Zombie Film While those who have the Rage Virus in 28 Years Later have zombie-like qualities, Danny Boyle insisted in an interview with TIME Magazine before the film's release in theaters that the antagonists are not zombies. 'We had this thing about, 'No, they're not zombies. They're infected,'' Boyle told TIME. 'We wanted them to behave in a different way physically, but they also weren't undead. They could die and they will die, but so will you if they catch you.' In 28 Years Later, Aaron Taylor-Johnson's character, Jamie, takes his 12-year-old son, Spike (Alfie Williams), to the mainland where the infected roam over the objections of his wife and the boy's mother, Isla (Jodie Comer). The trip to the mainland is a rite of passage where the younger people sheltered by their island community learn to hunt the infected. Bold told TIME that part of the storyline was influenced by the COVID-19 pandemic. 'When COVID first happened, we wore gloves, we disinfected groceries,' Boyle told TIME. 'But gradually over time, you start taking more risks. You don't stay in that super alert stage. You evolve. And so it is in 28 Years. They begin to take risks. Jamie takes his 12-year-old son to the mainland even though, as the mom says, that's f---ing crazy.' Rated R, 28 Years Later — which is executive produced by 28 Days Later star Cillian Murphy — is expected to arrive on PVOD on Tuesday.
Yahoo
40 minutes ago
- Yahoo
‘Matthew Perry: A Hollywood Tragedy' Sets Summer Airdate on ITV in the U.K. (Exclusive)
Matthew Perry: A Hollywood Tragedy will air on ITV1 and ITVX in August, The Hollywood Reporter can reveal. Blue Ant Studios, an international production studio and rights business, inked the deal with the U.K. channel to release the film at 9 p.m. London time on Aug. 18. More from The Hollywood Reporter ITV Sets New Cost Cuts, CEO Talks Disney Streaming Deal and Using AI for 'Love Island' Casting Box Office Grosses Won't Return to Pre-COVID Levels Even By 2029, New Report Forecasts Benedict Cumberbatch to Receive Zurich's Golden Eye Award The studio is overseeing global licensing and distribution of ITN Productions' one-hour film about Friends star Perry, who died at the age of 54 in October 2023. Commissioned by Peacock/NBC, the documentary first aired on the U.S. streamer in February this year. In its premiere week, Matthew Perry: A Hollywood Tragedy made Peacock's top 10 list of most-watched shows. ITN Productions has since updated the film to reflect the developments in the case of Dr. Salvador Plascencia, who pleaded guilty Wednesday to giving Perry ketamine in the month leading up to the Friends star's death. 'The story of Perry's rise to fame is interwoven with the harrowing tale of his final days,' a plot synopsis says, 'as he allegedly received ketamine from sources the U.S. Attorney claims 'should have known better.'' Friends co-star and Hollywood doyenne Morgan Fairchild — who fans will recall played Chandler's eccentric mother Nora Bing in the NBC series — talks candidly in the film about Perry's drug addiction and working with the actor. The doc also includes commentary from Hollywood insiders, U.S. Sun journalist Katy Forrester, medical professionals and Martin Estrada, the District Attorney at the Central District of California U.S. Attorney's office at the time of Perry's death, among other contributors. 'This latest sale to ITV in the U.K. is testament to the timeliness of the project in addition to ITN Production's thorough examination of the tragic end of Matthew Perry's life,' says Gerbrig Blanksma, senior vp international sales and partnerships at Blue Ant Studios. 'Sales have already been made in nearly 20 territories globally, and we expect interest in the documentary to continue.' Sasha Breslau, ITV head of content acquisitions, added: 'We're pleased to bring this in-depth and fascinating film to ITVX, documenting the life of one of television's best loved actors, Matthew Perry. The film hears first hand from those who knew Matthew, as well as telling the story of his untimely passing with updated developments not seen before.' ITN Productions' head of international programmes Ian Russell said: 'The film got a lot of attention when it was released on Peacock in the U.S. and I am delighted that Blue Ant Studios has found it a home on ITV, so U.K. audiences can appreciate the — now updated — intricacies of this tragic story.' Matthew Perry: A Hollywood Tragedy was executive produced by Ian Russell, head of international programs for ITN, as well as Mike Griffiths and Robert Palumbo. It was directed by Palumbo and the production manager was Nickie Hyde. It was commissioned by Cori Abraham, senior vp, NBCUniversal and is distributed worldwide by Blue Ant Studios. Post was in-house by ITN Post. Best of The Hollywood Reporter 'The Studio': 30 Famous Faces Who Play (a Version of) Themselves in the Hollywood-Based Series 22 of the Most Shocking Character Deaths in Television History A 'Star Wars' Timeline: All the Movies and TV Shows in the Franchise Solve the daily Crossword
Yahoo
41 minutes ago
- Yahoo
‘Evita' Theater Review: Rachel Zegler Takes London by Storm as Eva Perón in Otherwise Uneven Revival
Could it be time for Jamie Lloyd to hit the pause button? The prolific director, whose radically reimagined Sunset Blvd. last month won Tony Awards for best musical revival and lead actress Nicole Scherzinger, is rolling out productions at such a rate that his template — big stars, event theater, a style that might be described as minimalist swagger — is beginning to look entrenched, and a bit hit-or-miss. Spectacle worked wonders with his recent, disco-dancing Much Ado About Nothing starring Tom Hiddleston and Hayley Atwell. But while there was a glorious opportunity for a revisionist take on Evita — to reconfigure the Andrew Lloyd Webber-Tim Rice mega-musical from the 1970s for a more politically confused and troubled age — Lloyd has simply turned up the volume. More from The Hollywood Reporter Foo Fighters Are Back With First Song Since 2023 to Celebrate 30th Anniversary What the Hell Happened With the Sean "Diddy" Combs Verdict? 50 Cent, Kesha, Aubrey O'Day and More Stars React to Diddy Verdict: "The Cultural Weight of This Decision Is Immeasurable" The result feels decidedly erratic. The central performance from Rachel Zegler at times gives you goosebumps, but at others is in desperate need of direction; showstoppers bring usually reserved London audiences to their feet (mostly unheard of here, though it happened too during Much Ado); directorial choices damage whatever narrative interest the work might have. It's entertaining and galling in equal measure. As ever, the immediate set is minimal: bare, except for tiered steps that run the length of the stage and a giant sign, EVITA, across the back (in what does feel like a contemporary spin, Eva Perón is presented here more as a brand than an icon). Other than that, the staging will be accompanied by carefully selected props: the live camera that has become ubiquitous in Lloyd's productions, a shower of blue and white confetti, blood and paint. The show opens as a tease, the song 'Requiem for Evita' sung almost as a Gregorian chant, by cowled figures gliding through dry ice. But any thought that this might be a pared-back evening are immediately cast aside as the curtain rises to reveal the Evita sign and a strutting Zegler, oozing feline sexiness in leather bra and hot pants. At the same time, Che (Diego Andres Rodriguez), an ambiguous character from Eva's own poor background, begins his protracted debunking of the Perón legend with 'Oh What a Circus.' And the musical's real face blasts into action. Throughout this number, and for some time after, Zegler endures her most difficult phase of the revival: physically commanding the stage (as she does the entire evening) but with a single, fixed expression, something akin to a teenager's attempt to appear superior, that suggests there's next to nothing going on behind the pose. It quickly becomes apparent, too, that the evening is going to be dominated by over-miked excess — the volume way too loud, the songs pitched too shrilly. Not only can this lead, at times, to a self-defeating sensory overload, but it exacerbates the issue often raised by sung-through musicals, of plot and character simply getting lost in the mix. While 'Buenos Aires' is one of the big-belt numbers — accompanied by thrilling choreography involving the whole cast — that bring down the house, many of the production's most satisfying moments involve a rare dialing down and focus. One is 'Another Suitcase in Another Hall,' poignantly sung by Bella Brown as the discarded mistress of Juan Perón (James Olivas), in a welcome change of tempo and temperature. Another, and not surprisingly the show's high point, is when Zegler puts her stamp on 'Don't Cry for Me Argentina.' There was mild controversy when it was discovered in previews that Zegler would perform the show's signature song not in the auditorium, but on the Palladium's exterior balcony for the benefit of passers-by gathered in the street — who, horror of horrors, have not paid handsomely for a ticket. As it turns out, this is Lloyd's greatest stroke of inspiration (similar to what he did with Tom Francis' Joe Gillis for the title song in Sunset Blvd. or Jessica Chastain's Nora at the end of A Doll's House). The theater audience does see the actress of course, captured on a giant, wide screen as she moves through the ornate Edwardian building. Her vampish garb replaced by a First Lady's majestic white dress, bejeweled, her dark hair now white, she sings from the balcony, the camera dissolving between her cinematic close-ups and the rapt crowd. Zegler crushes the song, eking out of it every ounce of emotion, real and contrived. The number is brilliantly conceived and executed, a genuine goosebump moment. But with the Palladium neatly filling in for Buenos Aires' Casa Rosada, it also tellingly offers what Lloyd's minimalist abstraction has hitherto denied: a sense of context and color. While there was a glimpse of Eva's feistiness and strength in the first half, Zegler as a performer is now fully unleashed. Set free from the limitations of lyricist Rice's crass social climber, the actress finds much more expression and emotion in the second half, as Eva navigates ambition, public perception and illness. Zegler's rendition of the dying Eva's 'You Must Love Me,' the song added for Alan Parker's 1996 film with Madonna, is extremely moving. It's a pity that the men can't really match her. Though he delivers the songs competently, Rodriguez (Sunset Blvd.) suffers in the way of all Ches. The character's high and mighty put-downs wear thin as the show progresses, and any political objections he may have to the Peróns are undermined by smug preening. Lloyd's casting of Olivas as Perón — in reality 23 years Eva's senior and invariably played by an older actor — seems perplexing. Why have a young man who looks exactly the same as the monolithic blockheads who are Perón's followers and henchmen? Why circumvent an inescapable age dynamic in the relationship? It doesn't help that Olivas is rather bland in the role. Lloyd's early reputation was partly built on an imaginative knack for tapping new meaning from the darkest and most interesting recesses of a play, notably but not only Harold Pinter's work (Lloyd's Betrayal, also with Hiddleston, was lauded on both sides of the Atlantic). Evita isn't the same kind of animal, but there's juice in the albeit contestable nature of Perón's political leanings. That could have resonated at a time of ever-growing right-wing populism, but is not capitalized upon here. It seems typical of the production that one brutally telling moment, Che's face and body suddenly becoming bloodied during a Peronist march, is easily lost with the actor stranded downstage as confetti distractingly showers the audience. Given that the director has cast Keanu Reeves and Alex Winter in his upcoming Broadway production of Waiting for Godot, there may well be an electric guitar in the mix. Nonetheless, let's pray he doesn't drown out the Beckett play's marvelous silence. Venue: The London Palladium, LondonCast: Rachel Zegler, Diego Andres Rodriguez, James Olivas, Aaron Lee Lambert, Bella BrownLyrics: Tim RiceMusic: Andrew Lloyd WebberDirector: Jamie LloydSet and costume designer: Soutra Gilmour Lighting designer: Jon ClarkSound designer: Adam FisherMusic supervisor and musical director: Alan WilliamsChoreographer: Fabian AloisePresented by Lloyd Webber Harrison Musicals and The Jamie Lloyd Company Best of The Hollywood Reporter Seeing Double? 25 Pairs of Celebrities Who Look Nearly Identical From 'Lady in the Lake' to 'It Ends With Us': 29 New and Upcoming Book Adaptations in 2024 Meet the Superstars Who Glam Up Hollywood's A-List Solve the daily Crossword