Jon Bon Jovi Explains His ‘Biggest Mistake’

Jon Bon Jovi celebrated his successes as he looked back on his career, but also his failures – including the “terrible” performance he delivered the first time his parents went to see him play.

The singer also reflected on what he regarded as his “biggest mistake” in an interview for the Big Issue’s Letter to My Younger Self series.

“The first talent show my parents came to see me play I was so terrible they wanted to crawl under their seats with embarrassment,” Bon Jovi said. “But they saw my passion and my commitment. So when I was just 17 they let me play in bars till closing time and they always said, ‘Well, at least we knew where you were.’ … I could get home at one or two in the morning, and have to still be in school by eight o’clock. They just said, ‘Show up on time for school; you know that is your responsibility… but pursue your dream.”

He added that they knew that he wasn’t going to bars to “fuck around” but to “do the job,” and demonstrated the result of their support: “By the time I was 20 I had written ‘Runaway’ and it was on the radio and by the time I was 21 I had a record deal. So there wasn’t the need for my parents to have a sit down with their 35-year-old son who was still playing in a bar in Santa Barbara saying, ‘I’m gonna make it.’

Bon Jovi insisted that “[t]here was no plan B for me ever” because of the attitude they helped instill. “What I got from my parents was the ability to make the dream reality,” he said. “[E]ven if you truly weren’t any good at your craft, if you believed you were, you could work on it. As I got older I realized that was a great gift that I got from my folks. They truly believed in the John Kennedy mantra of going to the moon. ‘Yeah, of course you can go to the moon. Just go, Johnny.’ And there I went.”

He admitted that he’d been through “deeply dark” and “deeply hurtful” experiences, but argued that they were “part of life,” adding: “I wish it was all pretty, but maybe if it was all pretty I wouldn’t have gotten this wisdom or this deep appreciation for who and what I am today.”

He added: “The biggest mistake I made in my life is that I didn’t take enough time to stop and look around and enjoy it. I was always so focused on the next step, then the next and the next, that it cost me a lot of great memories. And it caused a lot of sleepless nights that weren’t warranted. It’s my biggest regret. The one thing I would tell the younger self is, ‘Enjoy it more, relax. It’s gonna have ups and downs but keep the faith.’”

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Listen to Joan Jett, Billy Idol Guest on Miley Cyrus’ New Album

Miley Cyrus released her new album Plastic Hearts, featuring collaborations with rock icons Stevie Nicks, Joan Jett and Billy Idol.

Jett can be heard on “Bad Karma” while Idol duets on “Night Crawling” and both songs can be heard below. The track “Midnight Sky” featuring Nicks was released earlier this month.

Cyrus has been friends with both singers for some time, although her relationship with Jett is probably better known. In an extensive interview discussing the LP, Cyrus admitted that, at one point, she’d misunderstood how similar they were as she read a book that featured Jett’s written notes. “I was looking at pictures of her, getting inspired, and I was like, ‘Shit, we have the exact same handwriting!’” Cyrus recalled. “I was like, ‘Man, me and Joan DO have a lot in common. I even have her handwriting.’” Then she realized it was her own writing, after she’d felt inspired to scribble down some lyrics and the book had been the closest thing to hand. “I do not remember her writing about floating through space with an astronaut,” she said.

Explaining her decision to ask Jett to appear on Plastic Hearts, she recalled that producer Mark Ronson had told her: “This is the most Miley record of all time.” She continued: “I thought, ‘There’s only one person who could own this record more than me – it’s Joan Jett.’ Because that’s who instilled that mentality into me.”

She went on to explain she’d known Idol for years too. “I think the first thing I ever did for Billy was like 2013; I actually think that’s just when I’d just dyed my hair platinum and just shaved my head – I had short little spiky hair, and I looked like Billy Idol,” she said. “I really used him as the inspiration for the transformation that I had.” She added that his music had played a role too: “The way that he kinda married like rebellion, but also his music had like incredible hooks – he showed me that I could have balance, that I could make music that I and other people could love.”

Miley Cyrus and Joan Jett – ‘Bad Karma’

Miley Cyrus and Billy Idol – ‘Night Crawling’

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Does David Bowie Biopic ‘Stardust’ Benefit From Being Unofficial?

Johnny Flynn, who plays David Bowie in the new biopic Stardust, said the production benefited from its unofficial status.

He argued that it offered more freedom to explore a “responsible” story with the aim of “humanizing” Bowie – but he admitted he hadn’t wanted to take the role when it was first offered to him.

“When it first came to me, I was, I was not at all interested in, you know, another rock star biopic,” Flynn told Exclaim in a new interview. “And an earlier version of the scripts seem to be more like that. And I kind of thought is was a poison chalice, you know? Who the fuck wants to play David Bowie, who is a hero of mine and lots of people?” That changed when he met director Gabriel Range. “[H]e was taking the story in a very different direction – he wanted it to be this tiny moment in time. That really wasn’t a jukebox musical in the style of some of the other recent roadster biopics and stuff.”

Stardust is set during Bowie’s first visit to the U.S. and details the problems he encountered and the realizations he made before he secured success. “[I]t’s just about what it is to be a young artist figuring stuff out,” Flynn said. “And I was fascinated to learn the stuff that I did about Dave. I have the records and I know some of the headlines, but I don’t know a lot of the things.”

He continued: “In lots of ways, not being an official estate-backed studio film with a big budget is an asset. It is more the kind of film I’m interested in seeing… the kind of genesis films for the journey of an artist, and just like a prism in which to then see the rest of his life through. So you understand this one moment in his life, and it makes sense of a lot of other things.”

He reported that they’d never even asked Bowie’s estate for approval, and referred to comments by the late icon’s son, Duncan Jones, who’d pointed out there was none of his father’s music in the movie. “That’s true, but to my mind he wasn’t condemning the film,” the actor said. “I think he wouldn’t necessarily be that offended by it if he saw it. Hopefully not at all. We’re not trying to destroy anybody’s idea of David with it. We’re hopefully kind of augmenting a perspective of him and humanizing him, which I think is a responsible thing to do when we when we talk about great artists.”

Flynn had previously said he expected to receive “flak” from Bowie fans, but regretted that people were slating a production they’d never seen; and he compared what was happening to Stardust to what had happened to Bowie in his early days. “[E]ven these great innovators, these great artists, they started somewhere,” he said, reflecting that it was valuable to be reminded that while future icons were trying to find their voices, “people were attacking them all the time and cutting them down.”

He continued: “I did this film as much as anything to say, ‘Come on, we’ve got to give everybody a break. We have to allow people artistic freedom.’ And ironically, the film, which is a bold story, has been cut down by those same people with the same attitude of like, ‘No, you can’t do that.’ Which, in and of itself, feels like vindication for the ideas behind making the film.”

Stardust is currently available to rent or buy via iTunes.

‘Stardust’ Trailer

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Original Darth Vader Actor David Prowse Dead at 85

David Prowse, the 6-foot, 7-inch strongman who played Darth Vader in the original Star Wars movies, has died at age 85, his agent confirmed.

Although the Vader character was voiced by James Earl Jones, and his death scene in Return of the Jedi was performed by Sebastian Shaw, Prowse was credited for creating the dominant physical presence of the classic sci-fi villain.

Despite helping make the Star Wars movies a success, he had a troubled history with the production. He was accused of having leaked the plot line that Vader was Luke Skywalker’s father, although he said it had been a “lucky guess” given to fans a year before the script had been written. He was also accused of having leaked the line that Vader would die while Return of the Jedi was under production, which he denied. A journalist involved with publishing the story later said it hadn’t come from Prowse; but the actor reported: “That ruined my association with Star Wars… I was ostracized while on the movie, the producer and director wouldn’t work with me, and [George] Lucas wouldn’t speak to me. I had six weeks of purgatory.” His relationship with creator George Lucas eventually collapsed and, in 2010, he was forbidden to take part in official fan events. The events were explored in 2015 documentary I Am Your Father.

Before Star Wars, he’d been seen as Frankenstein’s Monster in the James Bond spoof Casino Royale, and played the same role in two Hammer horror movies. He’d also been a security guard in A Clockwork Orange and the Black Knight in Jabberwocky. On TV he had parts in Doctor Who, Space: 1999 and The Hitchhiker’s Guide to the Galaxy.

However, Prowse was best known – in the U.K. at least – for appearing as the Green Cross Code Man for 14 years. The superhero-like character was the frontman for the government’s road safety campaign, where he reinforced “stop, look, listen, think” messages of caution via public service announcements. He was granted an M.B.E. honor for his work in 2000. “[W]e actually reduced the road accidents by half,” he said later. “They went down from 40,000 a year to less than 20,000. And we’d actually saved something in the region of a quarter of a million children’s lives with the campaign.”

He revealed that he’d nearly lost the role after singing up to play Vader. “[A]s soon as the government knew I was the evil villain of Star Wars, they were going to sack me, because they thought my image as the evil villain would have a detrimental effect on this goody-goody Green Cross Code man character,” he recalled. “But exactly the opposite happened. And all the kids knew the Green Cross Code Man was really Darth Vader, of course all the kids loved Darth Vader. And it was Darth Vader talking to them about road safety. And that was one of the successes of the campaign.”

Green Cross Code Man PSA

Prowse had suffered a series of health issues, partly related to his size and strenuous life style, and he’d retired in 2016. “May the force be with him, always!” his agent, Thomas Bowington, told the BBC. “Though famous for playing many monsters, for myself, and all who knew Dave and worked with him, he was a hero in our lives.” He added that the death was “a truly and deeply heart-wrenching loss for us and millions of fans all over the world.”

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Anvil Singer Claims Band Originated Speed/Thrash Metal

While the “Big 4” gets a lot of credit for the advancement of thrash metal, especially in the U.S., would any of those acts be considered the originators of the style? In a new chat with The Metal Interview (heard below), Anvil singer Steve “Lips” Kudlow claims his band created that sound and style first.

When initially asked about laying claim as an originator, Kudlow responded, “We’re older. What else am I gonna say? I’m two or three years older than those guys. End of story. I was in line first. [Laughs] Somebody had to do it. And let’s face it, it’s a different kind of situation.”

He then elaborated, “Our drummer, Robb Reiner, is a very, very spectacular, special drummer and inventive and innovative. So when I came up with speed riffs that I thought were like Deep Purple and he’s playing double-bass drums to these kind of riffs, that was the invention of speed metal. People never heard that done before, and that’s an innovation that’s created between a guitar player and a drummer.”

He further explained, “Only a combination of that could do that — not a guitar player and a vocalist, but a guitar player and a drummer. That’s who’s gonna create that kind of music, because the faster you play and the more parts you put in, the less important vocals are, and that’s basically the direction which speed metal took, and that’s why there’s virtually no melody in speed metal, because you can’t — there’s no time to create a melody in the spaces that you make in the songs. So it all goes hand in hand. So some of our stuff like ‘666’ is almost void of melody, but that’s the style. That’s the stuff that everything — Slayer listened to that and said, ‘Okay, let’s make a band around that sound.’ The syncopation and the ideas that were expressed in songs like ‘Jackhammer’ or even ‘March of the Crabs’ became Metallica. It’s actually quite interesting.”

Earlier this year, Loudwire analyzed 15 acts that could be considered pioneers to the thrash metal sound, with Anvil among those included. Check out more of Lips’ chat with That Metal Interview below and see our list of 15 Bands Considered Pioneers of Thrash Metal below that.

Hear Anvil’s Steve “Lips” Kudlow on That Metal Interview

15 Bands Considered Pioneers of Thrash Metal

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A Heart Biopic Is in the Works

The story of sister-led Rock and Roll Hall of Famers Heart will apparently be told on the big screen. During a chat with SiriusXM Volume West host Lyndsey Parker, singer Ann Wilson revealed that a biopic is currently in the works.

Wilson revealed that details are still coming together as the script is still being written but Carrie Brownstein of Sleater-Kinney and Portlandia fame has been attached to write and may also direct the movie as well. The vocalist added that Lynda Obst will produce the film for Amazon.

Wilson stated, “I saw the first draft of [Brownstein’s] script, and it’s really cool.” She added that casting is underway for the roles of herself and sister Nancy Wilson and that a few actresses have come forward. She revealed that Anne Hathaway had shown interest in playing her, but added, “I don’t think she’s exactly right for it.”

She also added that the timeline has slowed due to Covid-19, but most essential details for the movie are “in development” right now. The singer also added that the film will start in childhood and at present follows the sisters’ career into the ’90s.

Heart emerged as forces in the rock world with 1975’s Dreamboat Annie album followed by a string of successful records. But after tailing off a bit in the early ’80s, the enjoyed a career resurrection with 1985’s self-titled effort and continued thriving at radio into the ’90s. “Magic Man,” “Barracuda,” “Straight On,” “What About Love,” “Never,” “These Dreams,” “Alone” and “All I Wanna Do I Make Love to You” are among their biggest hits.

Top 50 Hard Rock + Metal Frontwomen of All-Time

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Marilyn Manson Role Cut From CBS All Access’ ‘The Stand’

Last year it was revealed that Marilyn Manson was planning to appear in an updated adaptation of the Stephen King novel The Stand and that he also recorded a cover of The Doors‘ “The End” for the CBS All Access limited series. But according to one of the series directors, Manson nor his cover will appear in the upcoming series.

Director Josh Boone spoke with EW.com after rumors began to circulate that Manson’s presumed participation appeared to be in doubt. According to Boone, Manson’s role and music were both excised from the upcoming series due to budgetary concerns. It turns out that Manson had been cast in the role of “The Kid,” who makes a brief but memorable appearance within the book. But a tight budget forced some creative decisions that left “The Kid” out of this adaptation.

Explaining how Manson’s role and participation ended up getting cut from the series, Boone explained, “Just to clarify, Marilyn Manson and I had long-discussed him taking on the role of The Kid in The Stand. He and the great Shooter Jennings even recorded a killer cover of The Doors song, ‘The End,’ that ultimately proved too expensive to use. The show was made on a very tight budget and some of the dreams we had went to the wayside. The Kid was another casualty. When Manson wasn’t able to make it work schedule-wise, the storyline was ultimately excised and never shot, which is for the best, as no one could have slayed that role like Manson would have. Hope to work with him in the future.”

In the book, The Kid is a psychopath who drives a classic hot rod and loves his Coors beer. His main purpose of The Kid in the book is to drive Trashcan Man to Las Vegas, the home base of Randall Flagg’s disciples.

“We thought we were going to be able to restore the character of The Kid, but there really isn’t a lot of reason for The Kid to exist,” show runner Benjamin Cavell previously told EW.

The Stand series stars James Marsden, Whoopi Goldberg, Alexander Skarsgard, Odessa Young, Amber Heard, Heather Graham, Greg Kinnear, Daniel Sunjata, Eion Bailey, Nat Wolff and more. It premieres on CBS All Access Thursday, Dec. 17.

Musically it was a good year for Manson. After a decade of collaborating with Tyler Bates, he kept the creative uptick in his career going by pairing with producer Shooter Jennings on the cinematic-sounding We Are Chaos album.

But late in the year, allegations against Manson surfaced when actress Evan Rachel Wood publicly commented on a past abusive relationship. Though she didn’t call out Manson by name, backlash followed when people traced the timeline to the period when the pair dated. Manson’s team has since commented calling the accusations rumors.

See Marilyn Manson in 57 Rock + Metal Bands Who Changed Names Before Getting Famous

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32 Years Ago: Guns N’ Roses Release ‘GN’R Lies’

When Guns N’ Roses’ debut album Appetite for Destruction finally ascended to No. 1 on the charts a year after its release, it sent the music world into a frenzy, ready to consume any and all GN’R material available. The record label capitalized on the moment with the release of GN’R Lies on Nov. 29, 1988, a disc that was marketed as a new studio album but in essence was a compilation of sorts. That said, GN’R Lies contains some of the band’s all-time greatest songs.

Combining the caustic Live ?!*@ Like a Suicide EP and four contextually polarizing yet musically brilliant acoustic tracks, GN’R Lies drove fans into stores eager to wear down the grooves of a new LP. From the first drop of the needle, new fans were treated to some brutally raw and aggressive tracks: the Hollywood Rose-written “Reckless Life,” followed by the irony of “Nice Boys,” originally by Australian act Rose Tattoo, the original song “Move to the City” and a cover of Aerosmith‘s “Mama Kin.”

These tracks serve as a fitting introduction to where the band came from and who their biggest influences were. Though the EP was not recorded live — crowd noise from one of the Texxas Jam festivals was added in — it showcases the band’s unbridled energy with their own sonic stamp. Slash‘s signature guitar work dominates the riffing attack while Axl Rose‘s jaw-dropping range transforms them from simple covers to arguably besting the originals. However, the real star of Lies is the second half of the collection.

Guns N’ Roses, “Patience”

Leading the set of acoustic tracks is the whistled melody of “Patience,” a song which seized the success wrought by the borderline ballad “Sweet Child O’ Mine.” Where the Appetite single had still showcased the band’s sleazy and savage energy mixed with palpable emotion, “Patience” realized the full spectrum of the band’s songwriting abilities. The song was released in April of the following year and reached No. 4 on the Billboard Hot 100 chart.

“Used to Love Her” came next with its country twang and cheeky lyrics, making for a fun sing-along, revealing the band’s dark sense of humor. Falling in line thematically was the original version of “You’re Crazy,” which was changed radically in the studio on the band’s debut. One of the fastest and most aggressive songs on Appetite for Destruction was initially a mid-tempo jam. Stripped down on Lies, the song provides a different imagining of how Appetite would have sounded had the song not been altered.

Guns N’ Roses, “Used to Love Her”

Always controversial, Guns N’ Roses managed to make headlines with the seemingly offensive lyrics of “One in a Million.” The song used racial, xenophobic and homophobic slurs describing an altercation Axl had once had at a bus station when he first got to Los Angeles. The album’s cover included a proactive apology with the mock tabloid for the song’s title closing with, “This song is very simple and extremely generic or generalized, my apologies to those who may take offense.”

The artwork for GN’R Lies took the approach of a tabloid newspaper, with headlines including some of the songs on the album with brief descriptions. Some of the extra bits on the cover were removed prior to the CD release, including two quips about domestic violence.

Though the record does not take on the format of a conventional studio album, it serves as a curious time capsule back to the day when a rock band would dominate the world stage seemingly overnight. GN’R Lies was an obvious industry move to propel the ballooning success of what would become the “Most Dangerous Band in the World.” Yet, the result was a release that yielded some classic tracks that hold their own among the band’s best works.

See Where Appetite for Destruction Ranks Among the Top 50 Hard Rock + Metal Debut Albums

10 Most Destructive Guns N’ Roses Moments

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Interview with Joseph Mojo Morganfield: I think Blues can be a happy song as well: Video, Photos

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Interview with blues singer Joseph “Mojo” Morganfield – Muddy Waters‘ youngest son is a rising star on the Chicago blues scene.

How has the Blues music influenced your views of the world and the journeys you’ve taken?

Having Blues at an early age, seeing my father’s trials and tribulations, seeing current events happening in the world…the Blues has made me stronger, with a thick skin, I have learned to hope for the best but prepare for the worst.

How do you describe your music philosophy and songbook? What was the hardest part to be Muddy’s son?

My music is definitely influenced by my father, with a more up to date approach. I don’t necessarily like “old fashioned” Blues – I think Blues can be a happy song as well.

The high expectations of being Muddy’s son – people compare me to Muddy. They need to realize there is only one Muddy Waters. I am trying to make a way for Mojo Morganfield.

Which meetings have been the most important experiences? What was the best advice anyone ever gave you?

Bob Margolin – knowing him as a kid and performing with him as an adult – we have an unbreakable bond.
Best advise was from my father – he taught me to be true to myself – to be me – people are going to like you or they’re not but you have to be true to yourself.

What do you miss most nowadays from the blues of the past? What are your hopes and fears for the future of?

I miss the stories and comraderies – when a musician was a musician and didn’t have to be in your band to perform on stage. I miss traveling with my band – now there are bands waiting for you. My dad would have never gone for that. His band went everywhere with him.

That the Blues will continue – we need to reach out to youth, to continue to find and encouraged young talent.

Why do you think that Delmark Records continues to generate such a devoted following?

It is the oldest American Jazz/Blues record label, and its right here in Chicago. With that recognition they can reach a lot of people. That is why I chose Delmark to release my new single “It’s Good to be King”.

What would you say characterizes Chicago blues scene in comparison to other US local scenes and circuits?

Chicago Blues is the capital of Blues – founded in Mississippi, but different in St Louis and Tennessee, made more of an urban sound in Chicago. My dad changed the dynamics – Chicago doesn’t use horns, we use a harp instead. Two guitars, a rhythm and a lead, we added a piano. That’s the Chicago way.

What are some of the most important lessons you have learned from your experience in the music paths?

Always have a rehearsal with a new band. Encourage others – especially younger – you never know who is the next Buddy Guy, Muddy Waters, or Howling Wolf. Stay humble.

What is the impact of Blues on the racial and socio-cultural implications? How do you want it to affect people?

The Blues changed. When my father was a young man the blues was a black audience, but when Eric Clapton, the Rolling Stones, and Johnny Winters introduced the world to my father the Blues became white overnight. But the Blues is the foundation of music and crosses cultural borders – no boundaries – meaning age or race.

Let’s take a trip with a time machine, so where and why would you really want to go for a whole day?

1941 – Clarksdale MS to the day Alan Lomax recorded a young Muddy Waters for the Library of Congress. I also want to find Robert Johnson to see how great he was.

Interview By Michael Limnios / Photos by Connie Carroll

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Ozzy Osbourne Says He’s Not on Anti-Depressants Over Randy Rhoads

Ozzy Osbourne said it wasn’t true that he’d been taking anti-depressants ever since the passing of guitarist Randy Rhoads in 1982.

Rhoads died as the result of a plane stunt going wrong during a tour, and the tragedy affected Osbourne deeply. In the past he’d referred to using a “low dose” of drugs as a way of dealing with the incident, even though it had taken place decades previously.

In a new interview with GQ he was asked if he’d “been on anti-depressants ever since,” replying: “No, that’s not true. But it was a very depressing time in my life. Every time I talk about that, the tape starts to run in my head of that day when he died. It was awful. It was like a bad fucking horror movie. This house was on fire. The bus had been hit by the plane. There was glass and gasoline everywhere. The fucking house was engulfed. And he was such a nice guy. A very gentle man, a very tiny man… but so powerful with his instrument.”

Osbourne repeated that 2020 had been the “worst year” of his life, with coronavirus lockdown coming on top of a series of health setbacks. “I’ve got emphysema, so if I get this virus I’m fucked,” he said. “If I go out I wear a mask, but I don’t like wearing a mask, so I don’t go out much. The producer on my album [Andrew Watt] got the virus. I’d phone him up every day and he said he couldn’t sleep, because as soon as he went to sleep he’d stop breathing. He’s not the same person now… It’s like anyone who’s had a near-death experience: he’s become a bit careful with life.” He added: “But my two granddaughters caught it and you wouldn’t think they had anything wrong with them. It just bounced off them.”

He revealed that he’d taken to playing with a pellet gun to relieve the boredom. “I’m going super nuts now,” he explained. “I’m shooting pellets at the wall every day. I’m getting through 10,000 pellets a week. Bang, bang, bang.” Asked what he was shooting he replied: “Just targets I’ve made. In the past I shot everything you could shoot, though. Cows, sheep, calves, pigs, all kinds of things, dogs…” When queried over shooting dogs he said: “Not many. A dog. One dog. Not on purpose. It was in a lot of pain and I put it out of its misery. It’s not like I go dog hunting at night.”

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You Can Pay to Spend a Night in Ozzy’s Childhood Bedroom

Ozzy Osbourne was recently bestowed with a ‘Man of the Year — Lifetime Achievement’ award by GQ magazine. In the wide-ranging interview, the Prince of Darkness confirmed the person currently occupying his childhood family home charges money for people to sleep in his old bedroom.

It’s the ultimate one-night stay for any Black Sabbath and Ozzy mega fan — a wholly unique opportunity to get a glimpse into the everyday life of the pre-fame singer in the two-bedroom home located at 14 Lodge Road in Aston, a ward in Birmingham, England.

Looking back on his early life, Osbourne admitted it is now difficult to wrap his head around how a family of eight managed to occupy a relatively small dwelling and also made a joke about how much it costs to stay in his old room.

“He charges £400 a night,” the legendary metal singer told GQ when pressed about the alleged for-rent room. He then exclaimed, “The fucking house weren’t [sic] worth £300!”

“They must be doing an expensive extension on the bathroom,” he quipped before noting, “I tell you what was really weird: I went back to that house many years after I left. When you’re little everything seems massive. But that house was me, my mum and dad and my five sisters and brothers – eight of us in this house. It’s so tiny, I’m going, ‘How the hell did we do this?’

Sharing another anecdote from his childhood, Osbourne recalled an emotionally cold and distant life. When asked if he was able to tell his parents that he loved them, the singer replied, “No, never. My parents never told me they loved me. That wasn’t a thing you did in our house. If I’d told my sister I loved her I’d have had the piss taken out of me. Even now I say to my older sister that I love her and she won’t say she loves me back. When I was a kid it was a sign of weakness to tell your parents that you loved them.”

Elsewhere in the interview, Osbourne recollected the time a vicar visited his home and mistakenly ate a piece of potent hash cake, which left him an a sort of incapacitated and severely stoned state. After eventually sobering up, the vicar told Osbourne he must’ve contracted the flu while visiting his home because he had hallucinated for three days.

Read the full interview with GQ here.

Bogged down by numerous health issues in recent years, Osbourne had been forced to postpone multiple legs of his ongoing farewell tour. The pandemic has pushed retirement even further back and the Prince of Darkness is now aiming to return to the road in 2022 on a European tour. See those dates here.

These 40 Smiling Rock Stars Will Make Your Day

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COVID-19 Has Forced Keith Richards into ‘Un-Normal’ Normality

Rolling Stones guitarist Keith Richards noted that he has “got into a more normal way of life” — including gardening — due to the coronavirus lockdown.

The 76-year-old recently revealed to Goldmine that he’s enjoyed calmer times while the pandemic has halted the band’s live plans.

“I’ve been in hiding, basically,” Richards said. “Hunkering down with the family and a few friends because we have to stay in a bubble, you know. I’ve been out to a restaurant with outdoor seating a couple times, but now it’s getting a bit chilly so we’re eating in. Thank God the wife’s a good cook, bless her heart!”

He reported that he’d enjoyed the experience of watching his garden grow, adding: “I spent the whole summer actually admiring the garden and also doing a bit of gardening myself – watering the veggies and the stuff. I got into a more normal way of life, which is un-normal.”

In another recent interview, he told the BBC that he’d hoped to have a more productive year.

“We was ready, primed to go on the road when this virus hit, so it was kind of, ‘On your marks, get set, no,’” he said. “It’s been very weird for everybody this year, hasn’t it?” Asked how he might celebrate the Stones’ 60th anniversary, which takes place in 2022, he joked: “I might get a new wheelchair.”

He went on to reflect: “[I]t’s been pretty exceptional this particular life. I’m really at a loss sometimes to sort of figure out how the hell I got here. But the music is the thing that keeps you going, so that’s what I try and concentrate on.”

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