Osbournes Things You May Not Know

After 33 years of marriage, rock’s royal couple Ozzy and Sharon Osbourne have parted ways, reportedly due to his affair with celebrity hairstylist Michelle Pugh. The Osbournes, who were married in 1982, have seen a lot of their dirty laundry hit the airwaves over the last few years, particularly since they opened their homes and lives to one of television’s earliest celebrity reality series, The Osbournes. Ozzy’s rumored infidelity is but the latest chapter in their strange family history, and here are some of their other dark secrets.

Kelly put Pugh on public blast after finding out about her involvement with her father, spreading the woman’s contact information to her millions of followers as a go-to resource for “cheap chunky LOW-lights and a blow out,” in addition to other services. She even suggested the relationship was “elder abuse” since her father was rumored to be financially supporting the woman.

Sharon seemed delighted by the rage-filled reaction, saying, “What can you do but laugh … she’s just so funny.” Kelly’s tweet, she added, came from a place of love and made her mum “proud.” Perhaps the reason she was so tickled by Kelly’s behavior is that they were partners in crimes of passion. They’re said to have frequently dialed the Beverly Hills salon where Pugh had been employed in an effort to speak with her, costing her the job as a result of all the attention.

Sharon has ridden the crazy train

The Osbournes’ history of alcoholism and addiction is more than well documented, but what people might not know is that in the middle of one bad binge long ago, Sharon slit her wrists to prove her undying love for Ozzy. As she explained in 2014, she’d never before revealed the story of how her bloody show of devotion once landed her in the hospital because “of embarrassment of how stupid [she] was at the time.” Back then, she’d told Ozzy she’d “do anything” for him, and he asked her to prove it. That’s when took a steak knife to her wrists and immediately realized the gravity of her mistake, the scars of which she still carries. (She was transported by ambulance and put on lockdown in the hospital’s psychiatric ward after the incident.)

She also once made up a surgery for no reason

Fame can make a person say and do some very strange things, but this has gotta take some kind of tasty British lemon cake. In 2013, Sharon admitted to having lied about undergoing “excruciating” tightening surgery on her lady bits just for the heck of it. She admitted it was a “flippant, stupid thing to be silly.” After having beaten colon cancer and undergoing a double mastectomy to prevent the likely genetic onset of breast cancer, she said, “how could I do that after I’ve had so much ill health? Now, I’m going to start putting scaffolding up in my vagina?”

Jay Leno hooked up with Sharon years ago

Before she and Ozzy were officially together, Sharon enjoyed some mattress time with comedian Jay Leno, who was still decades shy of earning his late-night legacy. As she explained in 2013, she was 25 years old when she first moved to the U.S., and while she knew Ozzy at that time, they weren’t yet a romantic item. “We were just friends. I didn’t have a boyfriend. I never did date a lot at that time anyway because I was not very dateable.” She saw Leno perform a set at a club and expressed an interest in him to her friend, which resulted in her prank calling him and, ultimately, inviting him to come over and have “a little fling” together. It wouldn’t last, of course, and he would even later introduce her to his eventual wife Mavis Leno and remain friends with he’d moved onto the woman Sharon described as “the real love of his life.”

Aimee still separates herself from her family

When the Osbournes first decided to let show cameras film their every move (and, more importantly, Ozzy’s every unintelligible grumbling), their oldest daughter Aimee wanted absolutely nothing to do with it. In fact, the now-32-year-old musician immediately packed her things and moved out of the family home and onto a separate building of the property and demanded that her visits to the main home not be filmed. Sharon would later admit that her sole regret about doing the show was “that it meant I spent less time with her while we were filming it,” and while she and her parents still remain close, the same cannot be said for Aimee and her younger siblings.

Those many months spent apart during filming for the show’s four seasons, Aimee told The Independent, opened a divide between herself and the other two that has yet to be fully bridged. “I wouldn’t say there is an ease between us,” she said of her strained relationship with Kelly, 31, and Jack, 30. “But there is an acceptance. Do we socialize? No.”

Sharon and Ozzy don’t get along with her family

They say family and business shouldn’t mix, and the tumultuous relationship between the Osbournes and Sharon’s side is definitive proof. Her father, the late Don Arden, was an early manager for Ozzy’s Black Sabbath. But the self-proclaimed “Godfather of rock” was persona non grata for the Osbourne fam for years thanks to his nefarious business dealings and violent behaviors. When she married Ozzy, he gave her the Black Sabbath contract, and she took it to an American label instead and was sued by her father for $1 million in damages. They wouldn’t reconcile for 15 years, by which time he was already succumbing to Alzheimer’s disease.

Meanwhile, her brother David Levy has also been the source of some major familial friction, especially after he openly criticized Sharon’s choice to have cosmetic surgeries. Ozzy penned a scathing open letter to his “brother-in-law in name only” and told him to butt out of his business, and Sharon followed that up with her own promise to cut (financial) ties with him for good. “We call him Fredo after the weak son in The Godfather who sold the family out … all he wants is our money. I want absolutely nothing to do with him,” she said.

Osbournes split might be a mere stunt

Ozzy and Sharon reunited to support his Black Sabbath tour in May and fueled speculation that their split is a media play to drum up attention for the tour. Sharon’s comments to the Los Angeles Times that she hopes for a reconciliation between them certainly support that theory. She said, “Ideally, I would love for my husband to deal with his issues and work at the problems that he has now. And be honest and open … to be able to come back to us with honesty and respect for the family. That’s what I really wish.” The Osbournes have not filed for divorce as of this writing.

via Blogger http://crystaltrapper.blogspot.com/2017/07/osbournes-things-you-may-not-know.html

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Baleful Creed Seismic Shifter Album Review

Baleful Creed Seismic Shifter

Second albums always are difficult beasts for any band, but even more so when they have undergone a seismic shift (sic) in the personnel department in the period between.

Baleful Creed’s self-titled debut album, released back in 2013, was a fairly Richter registering event in its own right, with a collection of tunes more than capable of levelling a middle-sized Far Eastern dictatorship merely by turning the volume knob on the band’s Marshall stacks up a fraction of a notch: it was a heavy-as-fuck slice of old school doom-meets-stoner groove that had some fairly immense moments – such as the titanic (sic, again) ‘Autumn Leaves’… oh, that is one beauteous song…

In the intervening four years, the band have had their fair share of personal and collective struggles, ultimately resulting in the departure of their entire original rhythm section. But, slowly they rebuilt: like their music, Baleful Creed like to be considered and not rush headlong into things. Now, the reconstruction process is complete and they are ready to kick up dust with an album that was conceived out of the ashes of the old line-up but very much born in the confident new one.

And the first thing that strikes you about this second child is that it not only represents a change in personnel, but also in attitude: the one failing of ‘Baleful Creed’ was that it was very much rooted in one aspect of the genre. It wore its influences very much on its sleeve. It was also a dark and claustrophobic album. ‘Seismic Shifter’ is just that: a massive shift. While staying true to the band’s doom/stoner roots, there is also a much lighter touch to this album, which I shall now elaborate on…

The album heaves into sight with the massive lead single, ‘Devil’s Side’. The expected sound effects slowly give way to a dual guitar part which conflicts yet complements itself: one stabbing, the other fuzzed out, they set the tone for the abrasive opening snare beat and Fin’s acidic vocal kick off – you can almost see the heckles flying into the microphone as he spits out the words. The song immediately reflects the tone of the entire album, with brilliantly executed changes in mood and tempo throughout: just as you think it’s going to take you down a dark alley and give you the beating of your life, it grabs you by the hand and shows you the sunshine on the other side of your nightmare.

‘Momento Mori’ is a throwback to old school Baleful Creed, with Fin at his most spiritual: “live life as a sinner, seek salvation elsewhere” he prays, as Davy Greer’s thick bass rumbles with the muddiness of Belfast’s River Lagan at low tide and David Jeffers’ snare snaps with the hunger of an alligator with a wounded cow hanging just tantalisingly out of reach. Greer steps up to the mic for the opening part of the magnificent ‘Levy’, adding a sardonic bluesiness which beautifully counterparts Fin’s venom – and, by fuck, they even bring in a harp, taking this song right back into the swamps yet keeping a lightness of touch which few bands working in this genre manage to manipulate effectively.

‘God’s Fear’ grunts and growls with a dark fury: another deeply spiritual lyric from Finlay – he challenges rather than confronts, or denies, accepted belief systems – tops off a suitably dense and moribund musical theme, which moves along with a well-paced fluidity. ‘Grind’ is one of the weakest songs of the album: it’s a fairly standard stoner blues workout, with a dark bass line and highlighted by a seering solo, but also is one of the album’s faster songs, rattling along at a decent headbanging pace… But, then, we did need a bit of a break, ‘cos the second half of the album is definitely that oft overused phrase “all killer no filler”…

‘Faux Celebrity’ is a brutal assault on modern society that sees the people at whom it is directed held up as misjudged role models: Fin snarls his condemnatory lyrics, while the song has a sardonic and sarcastic lightness to it, exorcised through the two searing solos which bookend the bridge section, while the bass peeks through with a well-judged subtlety. ‘Walking Wounded’ is simply epic in its feel: dense, with a throb that just grabs you by the balls, it’s possibly the slowest, sludgiest song that Baleful Creed have produced, but in no way veers anywhere near “ballad” territory, especially when Dave kicks the second half up a gear and Fin opens up his throat with a Rod Stewart-singing-Sabbath roar. And the climax just sends shudders down your spine.

Bassist Davy Greer (who also fronts Beyond The Beneath) steps up to the mic again for the rip roaring ‘Lose Religion’, which immediately evokes the spirit of Lemmy as it punches harder than Mike Tyson and races along faster than Usain Bolt. The mood changes slightly with a return to Fin’s tortured mind, as he pleads to be ‘Forgiven’: of course you are dude. It’s a deeply personal plea, which is delivered with passion and a dense fury which permeates every groove of the song and every fibre of your rock’n’roll soul. Then comes closer ‘Wolf Pack’ – and, holy fuck and all the lords of chaos, is that a Hammond organ I hear in the background? Jeezus H Christ and all the false apostles, if you’re gonna fuck with people’s expectations, this is one way to do it: a dense blues which has elements of Sabbath’s ‘Children Of The Grave’ and also Pantera’s ‘Five Minutes Alone before exploding with the fury of Jerry Garcia on a speed rush, it’s the perfect end to an album that twists and turns and, in places, defies logic.

Yes, second albums can be difficult affairs. And, in places, ‘Seismic Shifter’ is a very difficult album: but, that’s because it challenges the listener to actually do that – listen to the damn thing. There is a lot going on in it, musically and, especially, lyrically. It possesses a rawness of emotion, exposes open wounds that few are willing to leave like that… it’s cathartic and enervating.


Review written by Mark Ashby © Über Rock.
Reproduced with permission of Über Rock http://www.uberrock.co.uk


For band updates, contact and band merchandise use these useful Baleful Creed links:

Baleful Creed

via Blogger http://crystaltrapper.blogspot.com/2017/07/baleful-creed-seismic-shifter-album-review.html

Baleful Creed Seismic Shifter Album Review

Baleful Creed Seismic Shifter

Second albums always are difficult beasts for any band, but even more so when they have undergone a seismic shift (sic) in the personnel department in the period between.

Baleful Creed’s self-titled debut album, released back in 2013, was a fairly Richter registering event in its own right, with a collection of tunes more than capable of levelling a middle-sized Far Eastern dictatorship merely by turning the volume knob on the band’s Marshall stacks up a fraction of a notch: it was a heavy-as-fuck slice of old school doom-meets-stoner groove that had some fairly immense moments – such as the titanic (sic, again) ‘Autumn Leaves’… oh, that is one beauteous song…

In the intervening four years, the band have had their fair share of personal and collective struggles, ultimately resulting in the departure of their entire original rhythm section. But, slowly they rebuilt: like their music, Baleful Creed like to be considered and not rush headlong into things. Now, the reconstruction process is complete and they are ready to kick up dust with an album that was conceived out of the ashes of the old line-up but very much born in the confident new one.

And the first thing that strikes you about this second child is that it not only represents a change in personnel, but also in attitude: the one failing of ‘Baleful Creed’ was that it was very much rooted in one aspect of the genre. It wore its influences very much on its sleeve. It was also a dark and claustrophobic album. ‘Seismic Shifter’ is just that: a massive shift. While staying true to the band’s doom/stoner roots, there is also a much lighter touch to this album, which I shall now elaborate on…

The album heaves into sight with the massive lead single, ‘Devil’s Side’. The expected sound effects slowly give way to a dual guitar part which conflicts yet complements itself: one stabbing, the other fuzzed out, they set the tone for the abrasive opening snare beat and Fin’s acidic vocal kick off – you can almost see the heckles flying into the microphone as he spits out the words. The song immediately reflects the tone of the entire album, with brilliantly executed changes in mood and tempo throughout: just as you think it’s going to take you down a dark alley and give you the beating of your life, it grabs you by the hand and shows you the sunshine on the other side of your nightmare.

‘Momento Mori’ is a throwback to old school Baleful Creed, with Fin at his most spiritual: “live life as a sinner, seek salvation elsewhere” he prays, as Davy Greer’s thick bass rumbles with the muddiness of Belfast’s River Lagan at low tide and David Jeffers’ snare snaps with the hunger of an alligator with a wounded cow hanging just tantalisingly out of reach. Greer steps up to the mic for the opening part of the magnificent ‘Levy’, adding a sardonic bluesiness which beautifully counterparts Fin’s venom – and, by fuck, they even bring in a harp, taking this song right back into the swamps yet keeping a lightness of touch which few bands working in this genre manage to manipulate effectively.

‘God’s Fear’ grunts and growls with a dark fury: another deeply spiritual lyric from Finlay – he challenges rather than confronts, or denies, accepted belief systems – tops off a suitably dense and moribund musical theme, which moves along with a well-paced fluidity. ‘Grind’ is one of the weakest songs of the album: it’s a fairly standard stoner blues workout, with a dark bass line and highlighted by a seering solo, but also is one of the album’s faster songs, rattling along at a decent headbanging pace… But, then, we did need a bit of a break, ‘cos the second half of the album is definitely that oft overused phrase “all killer no filler”…

‘Faux Celebrity’ is a brutal assault on modern society that sees the people at whom it is directed held up as misjudged role models: Fin snarls his condemnatory lyrics, while the song has a sardonic and sarcastic lightness to it, exorcised through the two searing solos which bookend the bridge section, while the bass peeks through with a well-judged subtlety. ‘Walking Wounded’ is simply epic in its feel: dense, with a throb that just grabs you by the balls, it’s possibly the slowest, sludgiest song that Baleful Creed have produced, but in no way veers anywhere near “ballad” territory, especially when Dave kicks the second half up a gear and Fin opens up his throat with a Rod Stewart-singing-Sabbath roar. And the climax just sends shudders down your spine.

Bassist Davy Greer (who also fronts Beyond The Beneath) steps up to the mic again for the rip roaring ‘Lose Religion’, which immediately evokes the spirit of Lemmy as it punches harder than Mike Tyson and races along faster than Usain Bolt. The mood changes slightly with a return to Fin’s tortured mind, as he pleads to be ‘Forgiven’: of course you are dude. It’s a deeply personal plea, which is delivered with passion and a dense fury which permeates every groove of the song and every fibre of your rock’n’roll soul. Then comes closer ‘Wolf Pack’ – and, holy fuck and all the lords of chaos, is that a Hammond organ I hear in the background? Jeezus H Christ and all the false apostles, if you’re gonna fuck with people’s expectations, this is one way to do it: a dense blues which has elements of Sabbath’s ‘Children Of The Grave’ and also Pantera’s ‘Five Minutes Alone before exploding with the fury of Jerry Garcia on a speed rush, it’s the perfect end to an album that twists and turns and, in places, defies logic.

Yes, second albums can be difficult affairs. And, in places, ‘Seismic Shifter’ is a very difficult album: but, that’s because it challenges the listener to actually do that – listen to the damn thing. There is a lot going on in it, musically and, especially, lyrically. It possesses a rawness of emotion, exposes open wounds that few are willing to leave like that… it’s cathartic and enervating.


Review written by Mark Ashby © Über Rock.
Reproduced with permission of Über Rock http://www.uberrock.co.uk


For band updates, contact and band merchandise use these useful Baleful Creed links:

Baleful Creed

via Blogger http://crystaltrapper.blogspot.com/2017/07/baleful-creed-seismic-shifter-album-review.html

Holly Willoughby loses her cool

Holly Willoughby loses her cool as miniature pony poos on the This Morning studio carpet

The presenter dissolved into fits of giggles at the mishap

Holly Willoughby struggled to keep her composure as chaos broke out during an episode of This Morning when a miniature pony pooed on the studio floor.

The mishap took place during a segment about ‘guide ponies’ which are miniature ponies trained to help those with sight problems.

Willoughby, who is known for her giggly outbursts with co-host Phillip Schofield, was already beginning to chuckle at their furry guests when one of the horses had an accident on a rug in the studio.

It was perfect comic timing as Schofield had just been commenting on the differences between guide ponies and guide dogs, joking: “A dog is unlikely to poo on the kitchen floor.”

Mishap: Holly Willoughby burst into laughter after a miniature pony had an accident on-air (ITV)

Monet the pony was clearly listening as he decided to it was the ideal moment to relieve himself on the studio floor.

Schofield managed to keep his cool, remarking: “Perfect timing, absolutely perfect timing. I’m sure a person with impaired sight would find that extremely useful on the kitchen rug.”

via Blogger http://crystaltrapper.blogspot.com/2017/07/holly-willoughby-loses-her-cool.html