Derek Hough: No Limit To Take The Stage At Flamingo Las Vegas Beginning June 2


LAS VEGAS, Feb. 3, 2020 /PRNewswire/ — Multi-talented entertainer, two-time Emmy Award winner and nine-time nominee for Best Choreography, Derek Hough, has danced his way into the Entertainment Capital of the World with the announcement of his new show Derek Hough: No Limit at Flamingo Las Vegas beginning June 2.  

(PRNewsfoto/Caesars Entertainment)
(PRNewsfoto/Caesars Entertainment)

“Performance is my passion, and I am excited to showcase this in an intimate and personal way,” said Hough. “My all-new production gives me the opportunity to connect with audiences and share what I love to do with them.  More than just being entertained, I hope everyone will leave feeling moved and inspired to get up and dance!”

The dance-centric show will incorporate all-new production elements, designed specifically for the Flamingo Showroom, astounding versatility and, as always, Derek’s magnetic stage presence. Fans will journey through a true fusion of dance and music, as Derek explores styles ranging from ballroom and tap to salsa, hip-hop and everything in between.

“As a singer, dancer, instrumentalist and an overall crowd-pleaser, Derek is a true renaissance man, just like many of the greats that have played the historic Flamingo Showroom through the years” said Jason Gastwirth, president of entertainment for Caesars Entertainment. “We’re thrilled to welcome him into our family of entertainers at Flamingo Las Vegas and look forward to Derek taking the stage to share his exceptional talents with our guests.”

Tickets go on sale to the public starting Friday, Feb. 7 at 10 a.m. PT. American Express® Card Members can purchase tickets before the general public beginning Tuesday, Feb. 4 at 10 a.m. PT through Thursday, Feb. 6 at 10 p.m. PT. In addition, Caesars Rewards members, Caesars Entertainment’s loyalty program, as well as Ticketmaster customers will have access to a presale running Thursday, Feb. 6 from 10 a.m. PT through Thursday, Feb. 6 at 10 p.m. PT. General ticket prices begin at $59, plus applicable tax and fees, and go on sale to the general public starting Friday, Feb. 7 at 10 a.m. PT at ticketmaster.com/DerekHoughVegas or in-person at any Caesars Entertainment box office.  A limited number of meet and greets and VIP packages will also be available.

The full performance schedule is below with all shows starting at 7 p.m.

  • June: 2–6, 9–13, 16–20
  • July: 7–11, 14–18, 21–25
  • Aug.: 25–29
  • Sept.: 2–6, 8–12, 15–19
  • Oct.: 27–31
  • Nov.: 3–7

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About Derek Hough
Emmy Award winning and New York Times Best-Selling author and World of Dance judge Derek Hough started dancing in his hometown of Salt Lake City, UT, at age 11. Just one year later, he moved to London to live and train with the top dance coaches in the world and attend the prestigious Italia Conti performing arts school where he studied theatre, music and dance.

In May of 2017, Hough joined Jennifer Lopez and Ne-Yo at the judges table for the NBC series World of Dance. World of Dance, which launched as the highest rated summer show in over ten years, is an unparalleled dance competition that featured solo artists competing against duos and crews in all genres of dance, including hip hop, tap, ballet, break dancing, ballroom, and more competing for a million-dollar prize.

A multi-talented entertainer, two-time Emmy Award winner and nine-time Emmy nominee for Best Choreography and the only six-time champion in franchise history of the hit ABC show Dancing with the Stars, Hough has also appeared in film, television and stage projects as an actor.  He made his feature film debut for director Duane Adler and producer Robert Cort in the feature film Make Your Move and has a recurring role on the ABC series Nashville.  His stage performances include Radio City Music Hall’s Spring Spectacular costarring alongside the Tony Award winning Laura Benanti and the critically acclaimed production of Footloose which he starred as the male lead in London’s West End.  In December of 2016, Hough starred with Jennifer Hudson, Ariana Grande, Martin Short and Harvey Fierstein in NBC’s Hairspray Live!

Hough can also add best-selling author to his list of credits.  His memoir Taking the Lead; Lessons from a Life in Motion hit stands in August of 2014 and rapidly was named to the prestigious New York Times Best-Seller list during two non-consecutive time periods. 

In 2014 Hough and his sister Julianne teamed for a live stage dance concert MOVE Live on Tour performing in 50 cities around the country, in 2015 they toured again selling out scores of venues on their 47 city outing.  In 2017 they again performed a sold-out tour of 48 cities around the United States with their show Move – Beyond – Live on Tour.  Hough recently wrapped his first solo national tour, Derek Hough Live: The Tour which visited nearly 60 cities around the country.

With celebrity partners on Dancing with the Stars that included Brooke Burke, Jennie Garth, Ricki Lake, Nicole Scherzinger, Jennifer Grey, Kellie Pickler, Amber Riley, Amy Purdy and Bindi Irwin, Hough was best known for his innovation and daring choreography on the show.  To date, Hough is the winningest professional dancer of any Dancing with the Stars show in its franchise history. 

About Flamingo Las Vegas
Located in the heart of the Las Vegas Strip, Flamingo Las Vegas is a true desert oasis. The center-Strip resort features more than 3,500 guest rooms and suites, including the recently renovated Flamingo Rooms and Suites, as well as new Bunk Bed Rooms and Suites. The historic hotel-casino is home to a sprawling 15-acre pool and wildlife habitat complete with waterfalls, mature island vegetation and tropical wildlife, three distinctive pools including the adult GO Pool Dayclub, and several outdoor wedding gardens. Flamingo Las Vegas offers a wide variety of dining options with eateries such as Jimmy Buffett’s Margaritaville, Center Cut Steakhouse and Mexican hot spot Carlos ‘n Charlie’s. The resort also hosts an all-star line-up of entertainers including Derek Hough, CeeLo Green, Piff The Magic Dragon and the late-night adult revue X Burlesque. Flamingo Las Vegas is operated by a subsidiary of Caesars Entertainment Corporation (NASDAQ: CZR). For more information, please visit flamingolasvegas.com or the Caesars Entertainment Las Vegas media room. Find Flamingo Las Vegas on Facebook and follow on Twitter and Instagram.

SOURCE Caesars Entertainment

The Best Rapper Alive, Every Year Since 1979 | Complex

I put my foot on the gas, head on the floor
Hoppin’ out before the vehicle crash, I’m on a roll
Yellin’, “One, two, three, four, five
I am the greatest rapper alive”

Sure, DAMN. could be seen as a tacit admission that the direction he had hoped to explore with his previous work wasn’t as commercially viable as he hoped. Or it could be seen as him deciding to follow his ambition to beat his contemporaries in their own arena. No matter how you view it, Kendrick Lamar proved himself to be the best rapper alive. —Damien Scott

When it comes to pure artistic achievement, there was only one person sparring with Kendrick for the title of Best Rapper Alive last year. Jay-Z, weary and wiser for it, returned with an album that had no right to be the masterclass that it is. 4:44 doesn’t have the number one hits, the dazzling pyrotechnics, or the naked competitiveness that Kendrick brings to bear on DAMN. Instead, Jay acts his age—something we’ve never seen before, from any rapper. The result is a focused statement from a man trying to get you to listen and, more importantly, understand. Much was made of this being Jay’s apology album—it was, but it was much more than that. It’s the kind of album artists can usually only make at the beginning of their careers, jam-packed with every thought careening around their head, a definitive personal statement with the air of a conversation. In this case, you listen because it’s album number 13, and he’s not supposed to have anything left to say.

If Jay was interested in showing off he’s made it clear that he could still give anyone in the game—Kendrick included—a run for their money. Instead, he opted to make songs that sigh instead of roar. It was the right decision.

While K. Dot and Jay circled rap’s best album, Cardi B loudly dominated 2017. For those really in the know, this might have been expected. She’d long been the center of attention, mapping out a path to success from a strip club to Instagram to TV. Her leap to music was audacious, but it made sense that she would eventually reach new heights. For the uninitiated, Cardi B emerged, fully-formed, into a universe that she seemingly controlled through sheer force of will and an elementally magnetic personality. She reminded us that rap is a game of characters. Outsized, real figures, and it’s there that Cardi B truly excels. It’s impossible to stop watching her—she’s compulsively relatable, outspoken to a fault, and is something of an apex predator in the Instagram Era of rap personalities.

Of course, that would be nothing without good music. The jump from celebrity to rapper—a real jump that amounted to more than flash-in-the-pan attention—is a risky, improbable one. Cardi B has made it, sure-footed, thanks to a concentrated, three minute and 44 second-long distillation of her appeal called “Bodak Yellow.” It was a breakout hit—inescapable in New York for the entirety of the summer—eventually reaching number one on the Billboard charts (and unseating Taylor Swift on its way). More impressive than its commercial success, though, was how confidently it was pulled off. Despite quibbling claims of stolen flows (a kind of borrowing that’s both foundational to hip-hop and nodded to in the song’s title), “Bodak” is the Cardi show from start to finish. The song is stunningly charming and even more catchy—it’s Cardi to the core, which is why it achieved the success it did. “Bodak Yellow” was both an introduction and definitive statement, and the rare debut smash hit that serves as an announcement, not a career peak.

While Cardi’s rise took most of 2017 to gestate, Future opted to announce his presence straight out of the gate. Always a prolific studio rat, known for resuscitating his career by furiously distributing street rap that was better than any of his peers’, the surprise release of FUTURE was not actually a surprise. That’s what Future does: drop great music on a whim. What was surprising was what people latched onto as the album’s biggest hit: “Mask Off,” a pan flute-led, laconic piece of trap music that set off thousands of memes and more parties. What was even more surprising happened the week after FUTURE, when Nayvadius dropped HNDRXX.

If Future had made the prospect of a surprise album something closer to an expectation, he blew the concept out of the water when he did it twice in two weeks. More impressive than the sheer productivity, though, was how assured the two projects were. This wasn’t a song dump, generated to flood the market, but a calculated attack on two fronts. The design became clear when the projects were laid out together: FUTURE the brutalist, scorched-earth piece of bass-boosted antagonism that took Future’s hard-won persona to its logical extreme, and HNDRXX the formally inventive peeling back of layers to hint at some empathy behind the mirrored sunglasses, as well as an artistic path forward for one of rap’s best songwriters. —Brendan Klinkenberg

CREDENTIALS: Best Rap Album Grammy nomination for DAYTONA, Complex’s Best Album of 2018, “The Story of Adidon”

Then David said to the Philistine, “You come against me with sword and spear and javelin, but I come against you in the name of the Lord Almighty, the God of the armies of Israel, whom you have defied. This day the Lord will deliver you into my hands, and I’ll strike you down and cut off your head. This very day I will give the carcasses of the Philistine army to the birds and the wild animals, and the whole world will know that there is a God in Israel.” – 1 Samuel 17:45-46

David slayed the giant Goliath with fearlessness and a stone. We all know the story, whether we’ve read the Bible or not. It’s a reference we lean on whenever an underdog does the unthinkable. Finally, after years of baiting rap’s biggest star, Pusha-T battled Drake and won. Except those of us who had been following Push’s career since we banged the “Grindin’” beat on lunch tables weren’t surprised. The Virginia-by-way-of-the-Bronx MC has been an elite lyricist for decades, never losing a step or forgetting the rules of the game. Even if those who come down from their ivory towers and try to dictate those rules whenever it suits them (as Drake attempted to do) are constantly moving the goalposts.

What’s ironic about Push’s year in 2018 is that “The Story of Adidon” was just icing on the cake—or at least that’s what hindsight tells me. DAYTONA is flawless, a seven-track opus made specifically for those in the know. It’s his Reasonable Doubt. His third studio album is straight to the point like his raps, loaded with quotables that would’ve been highlighted in The Source, had the project come out two decades ago. Kanye’s production serves as the organ player to Push’s coke-fueled sermons. No song on the project embodies that dynamic better than its most underrated track, “Come Back Baby.”

I was lucky enough to hear this particular song early. I was in my motherland of Puerto Rico for the first time in my life. We sat in the parking lot, blowing it down, drunk, with bellies full of mamposteao, when the homie decided to give me a sneak peak. I shit you not, I felt like I was in church, and the weed began to smell like the incense in a thurible. Almost a year later, that King Hannibal gospel/funk sample still brings me closer to God. But Push thinks more highly of “Games We Play.”

“I think ‘Games We Play’ is the best hip-hop song of 2018,” he tells Complex after learning he’s been crowned 2018’s Best Rapper Alive. “That is the best pure hip-hop record of 2018, by far. I don’t know if there’s a better marriage of beats and lyricism.”

Like every rapper of his ilk, King Push has never been humble when it comes to his bars. And he’s never been shy about throwing shots at your favorite rappers in the name of sport.

He lured Drake for years, most notably with the 2012 subfest that was “Exodus 23:1,” where he came at Drake and Lil Wayne for being led astray by Birdman, two years before Weezy called his longtime label boss out on Twitter.

“Contract all fucked up/I guess that means you all fucked up/You signed to one nigga that signed to another nigga/That’s signed to three niggas, now that’s bad luck/Damn, that shit even the odds now/You better off selling this hard now.”

The beef finally boiled over on the weekend DAYTONA dropped. Most of us thought nothing of the shots Push took at Cash Money on the album’s final track, “Infrared,” but Drake noticed, and finally took the bait. He fired back at Push on his release day with “Duppy Freestyle,” effectively shifting the conversation during DAYTONA’s rollout. Many jaws (including my own) dropped to the floor when we heard Drake’s vitriol. Never had he gone at another rapper the way he did Push on “Duppy.” Aubrey was sick of the ghostwriter shots and years of slick jabs at the hands of Terrence. Finally, Drake had removed the thorn in his side, swiftly swatting away a rapper who had been beneath him for nearly a decade, in terms of mainstream success.

And then, five days after the body shot that was “Duppy Freestyle,” Pusha returned, stone and sling in tow, and slayed Goliath with one of the most maniacal, strategic, and disrespectful diss records in recorded rap’s 40-year history. “The Story of Adidon” included multiple revelations, most notably that Drake had a secret child. As if that wasn’t enough, the cover art was an actual photo of Drake in blackface. And the “The Story of O.J.” beat was just…*chef’s kiss*.

“Adidon” hurt the Toronto rapper to his core, causing him to hit the eject button on an Adidas campaign centered around his son, go on HBO to spew propaganda, and allegedly offer six figures for any dirt he could find on Push. Goliath was brought back down to Earth, a humbling experience, to say the least. The sales are still there—they will always be—but the perception among rap fans who matter will be forever tainted.

Drake’s fall from grace was so embarrassing that it seems like, just a few weeks ago, he was still trying to gather intel on Push. Pusha clarified his tweeted warning (“You tried, you failed…I’m hearing you wanna try again”) by telling us, “Man, I think people got that tweet a little misconstrued. I don’t know why anyone ever said that was about music. I never said that.”

And with that, I leave you with this Bible quote from the Book of Exodus, Chapter 23, Verse 1:

“Do not spread false reports. Do not help a guilty person by being a malicious witness.”

The truth hurts. —Angel Diaz

HONORABLE MENTIONS: J. Cole, Drake, Travis Scott

2018 will be remembered as the year J. Cole took control of his own narrative. When the year began, teenagers at SoundCloud rap shows were still yelling “Fuck J. Cole” and making memes about his laundry rhymes. Then he dropped his most mature and complete work to date, KOD, an album that found Cole sharpening his pen while transitioning to the “big homie” phase of his career. A month later, he sat down for a conversation with Lil Pump, earning back some respect from the genre’s youngest stars (and quieting those “Fuck J. Cole” chants). Image intact, he set out to flip a longstanding myth that he’s a “no features” lone wolf who avoids collaboration. Jumping on songs with everyone from 6lack to Anderson .Paak, Cole made it clear that he can excel far outside the context of his own carefully constructed, self-produced albums. “OK no problem, I’ll show up on everyone album/You know what the outcome will be,” he rapped alongside 21 Savage on “a lot,” before flipping the script on everyone: “It’s got to the point that these rappers don’t even like rappin’ with me.” For years, we’ve known J. Cole could rap with the best artists on the planet, but in 2018 he finally shed some lingering stigmas that were holding him back. Now, it’s undeniable: J. Cole is one of the best rappers alive.  

In more ways than one, 2018 was a disappointing year for Drake. After coming out swinging with back-to-back No. 1 singles, “Nice for What” and “God’s Plan,” he seemed well on his way to a career year. Then he poked a bear (Pusha-T), and the world found out he was hiding a child. Instead of responding directly, he countered with Scorpion, a 25-song double album that didn’t live up to high expectations. But even in an off year, Drake dominated the charts and managed to make his mark on 2018’s defining moments: His name appears on seven of Complex’s 25 best tracks of the year. 2018’s greatest song, “Sicko Mode,” wouldn’t have been nearly as special if it weren’t for Drake’s gift of delivering immediately repeatable (and memeable) gems while dropping intricate subliminals that would provide fodder for wild Twitter conspiracy threads. Once again, he proved he has a better grasp than anyone of making music designed for internet consumption—even during a moment in which public opinion had swayed against him for the first time. In 2018, one thing became clear: We can never count Drake out.

The notion of including Travis Scott on a Best Rapper Alive list caused so much debate in the Complex office that we had to call an emergency meeting. What are the qualifications to be considered a great rapper in 2018? Should the honor go to a lyrically driven artist with an unmatched pen, like Roc Marciano? Or should innovation and overall song-making abilities hold just as much weight as intricate rhyme schemes? Bar for bar, no one is arguing that Travis Scott was the best lyricist of 2018, and he doesn’t fit in the neatly defined package of what many hip-hop traditionalists look for in their favorite rappers. But he embodies exactly what the best rappers have always been about: a relentless drive to push boundaries.

In a decade, when we think of the albums that defined 2018 and shifted the genre, we’ll think of ASTROWORLD. As the expensive, ethereal spirit of “Stop Trying to Be God” transitions into a mosh pit anthem on “No Bystanders” (which features some of the best rapping of his career), you have to stop and appreciate how Travis has taken the momentum from every artist who came before him on this list and spun it into something new. Throughout ASTROWORLD, he tips his hat to acts like Three 6 Mafia, Goodie Mobb, and the Beastie Boys while recontextualizing their sounds in a way that works within the Travis Scott universe. Washed in Auto-Tune and delivered with an emphasis on tone-setting, his vocals are used in ways that wouldn’t have made sense 10 years ago. Working in the parameters of a genre that was born from a need to make something new out of existing materials, Travis Scott is leading the way for another generation and shifting the idea of the skill set that making great rap music requires. For that, he’ll be remembered as one of the best rappers of 2018. —Eric Skelton

This content was originally published here.

Black Sabbath and the story of the album that gave birth to Metal | Louder

It took a day to record. The producer on this project was making his debut in such a role. The studio was a four-track. And the whole thing cost less than one VIP ticket for a Bon Jovi show. Yet, in 1970, this unprepossessing and rather low-key debut album altered the world as we knew it. For we’re talking here of the self-titled debut album from Black Sabbath. This was where heavy metal breathed for the first time, staring down the burning sun of commercial realism and blinding succeeding generations with an uncompromising darkness of thought, deed and riff.

“We were different to anything around at the time,” says guitarist Tony Iommi 40 years after its release.“While everyone else was still wrapped up in the hippy and psychedelic ideas of the 1960s, this was something new.”

“We were four local lads. I went to school with Tony. I was in a band with Geezer Butler,” adds Ozzy Osbourne. “When we started, we had everything to gain and nothing to lose. It was my way out of working in a factory for the rest of my life.”

There had been indications of a coming force on the music scene before. The riff to The Kinks’ 1964 hit single You Really Got Me, for instance. The 1968 debut album from Blue Cheer, Vincebus Eruptum, and the Iron Butterfly record In-A-Gadda-Da-Vida the same year. A fascination with magick and the supernatural had imbued Led Zeppelin’s work, and could even be traced back to the blues. But nobody had ever brought it all together in such a fashion. No one had dared to attempt something so distorted, original and just musically so morose. Black Sabbath gave birth here to the beast, and we all embraced a new, gloomy vision.

“What set us apart from everyone else were our lyrics,” explains drummer Bill Ward. “There were a lot of great bands at the time – Zeppelin, Deep Purple, for instance – but none had those morbid lyrics like us. It’s what defined the band, made us unique.”

Sabbath had started out under the name of the Polka Tulk Blues Company in 1968. It was the combination of refugees from a Carlisle band called Mythology (Tony, Bill) and Rare Breed (vocalist Ozzy Osbourne and bassist Geezer). Located in the Aston area of Birmingham and augmented by slide guitarist Jimmy Phillips and saxophonist Alan Clarke, they were a heavy blues band, who quickly became Polka Tulk, and then Earth. By which point Jimmy Phillips and Alan Clarke had gone.

“In those days, Birmingham was a real hothouse for blues bands,” explains Butler. “There were loads of places to get gigs. But just about the only rock venue was Henry’s Blues House, above a pub in the middle of Birmingham. Everyone played there.”

This was run by Jim Simpson, who was to become the band’s manager and who, in 1969, packed them off to play regularly in Germany, especially at the Star Club in Hamburg, made famous earlier in the decade by The Beatles.

“We’d play up to nine sets a day,” laughs Butler. “They were all about 45 minutes long, and as we didn’t have many songs we learnt to do extended versions, to introduce drum and guitar solos. That’s how we started to jam a lot, and from where a lot of the material on the first album was developed.”

By this time, the band survived the temporary loss of Iommi, recruited by emerging prog heroes Jethro Tull. He lasted long enough to do one TV show, the Rolling Stones’ Rock And Roll Circus, before deciding their approach wasn’t for him, and returned to Earth.

The problem was that, while the band were building a healthy following on the live circuit, they weren’t at all attractive to record companies.

“We were turned down by several at the time,” says Iommi. “I think they felt we were too way out for them. Jim Simpson then decided that our songs weren’t commercial enough, and what was needed was an outside writer.”

So enter one Normal Haines. He’d made his name with another Birmingham band called Locomotive, who released a progressive-style album in 1969 entitled We Are Everything You See (now something of a collector’s item). They’d also had a hit single with Rudi’s In Love. However, the band had split up by the time Jim Simpson asked keyboardist Norman Haines if he’d be interested in joining Earth, thereby giving them some commercial beef. The offer was rejected, but instead Norman wrote the band a song called The Rebel.

Before their next move could be made, the band had to change their name. Another British act called Earth, who played pop and Motown covers, were playing the C-list circuit and this forced our heroes into a rethink. Yet they had this song, you see, and, well… it was going to become the band’s own defining moment.

“The song came first,” says Ward. “It was doomy, dark and very influenced by the supernatural. But what it didn’t have was a title. So, one day Geezer suggested we call it Black Sabbath, after a horror movie of the time [a 1963 film, starring Boris Karloff].”

Not only did this solve the problem of what to title the tune, but it became the band’s name, when forced to abandon their Earth connection. And on August 22, 1969, the newly anointed Black Sabbath went into Trident Studios in London’s Soho area to record a demo of The Rebel, with Norman Haines himself sitting in on piano and organ. The session was produced by Gus Dudgeon and engineered by Rodger Bain. In all, an amazing 19 takes were done of this song.

“Gus Dudgeon tried to tell us what to do,” says Ozzy. “And, if you knew us back then you’d understand that when we got ordered to do something a certain way, then we’d deliberately fuck it up. Gus was lucky that Tony didn’t wrap his guitar round his head!”

The ploy of using an outside writer didn’t work. The band also recorded another Normal Haines song, When I Come Down (sometimes called When I Came Down), but Jim Simpson couldn’t get Sabbath signed, which didn’t surprise Ward.

“They didn’t work because it wasn’t us. We felt uncomfortable and it shows through on the demos. We were far happier with our own material, which was very different to these songs.”

In a final act of desperation, and inspiration, Jim Simpson elected to make a bold move. He did a deal with one-time producer and jazz critic Tony Hall, who’d co-hosted a short-lived late-1950s music TV series called Oh Boy! – almost a precursor to Top Of The Pops. It was agreed that Hall would put up the money for Sabbath to do an album, and then try to sell the results to a record company.

“I think Tony Hall gave us £1,000,” says Butler. “We each got £100 to pay off debts, and the rest went to pay for the album – £600. It sounds like nothing these days!”

“I thought I was rich,” adds Ozzy. “I spent some of the money on a pair of shoes. I used to go around barefoot at the time, because I literally couldn’t afford shoes.”

On November 10, 1969, the band went back to Trident to have another go at recording a commercial cover. The song chosen this time was Evil Woman (Don’t You Play Your Games With Me).

“This had been a hit in America for a band called Crow [it reached no.19],” says Ward of the choice. “To be brutal, none of us liked the song and we didn’t wanna do it. But what did we know? Jim Simpson and Tony Hall felt it could do us some good, so we reluctantly went along with it.”

In those days, a lot of British acts were cajoled into covering recent American hits, getting their versions out before the original in the UK. And this was to be the one track on the Black Sabbath album recorded separately to the bulk of the songs. It was done back at Trident Studios, with Barry Sheffield (who co-owned the studio) as engineer and Rodger Bain as the producer.

“I don’t think Gus Dudgeon enjoyed working with us on The Rebel,” laughs Iommi. “He didn’t seem to get what we were about, and apparently turned down the offer of working with us again.”

“My recollection is that we didn’t get on with Gus at all; he was always so critical of what we were doing,” adds Butler. “We didn’t want him to do anything more for us. I know we met a couple of potential producers, but we liked Rodger Bain, because he had the right attitude. He wanted to record us live in the studio, to do it as if it were a gig. That’s the way we wanted to work, as we had no clue about studio technology.”

So, on November 17, 1969, the band went to Regent Sound Studios in London – and they literally had one day to do it all!

“Well, there was one day set aside to mix it, but we had to get all our parts done on that first day,” sighs Iommi. “It was the way things were done in those days. We had no choice. All we could was set up in this small room, and play the songs through. Mind you, it played to our strengths, because by then we were a really good live band.

“We had to be really careful to make sure there were no mistakes, otherwise they might end up staying on the record. As I recall, we did have the luxury of doing one or two songs for a second time. But that was it.”

“Tony did get to do a couple of overdubs on guitar, but when we asked all we got from Rodger and Tom [Allom, engineer] were sighs of frustration,” smiles Butler at the recollection. “Time was so tight. Then when Ozzy asked if he could do a few additional vocals, he was told, ‘No, sorry, time’s up. Now just fuck off!’.”

And that was the end of the band’s involvement with the album. The next day they left on a ferry, to play shows in Switzerland, while Rodger Bain and Tom Allom mixed the tracks.

“To be honest, I doubt we’d have had anything useful to contribute at that stage,” admits Iommi. “What did we know about mixing? All we’d have done is sit there and annoy everyone by asking for the thing to be turned up!”

“What you hear on the song Black Sabbath – the bell and all those effects – had nothing to do with us,” reveals Ozzy. “They were added after we’d left for the ferry. The first time any of us heard the mix was when we got to play the finished album.”

Not only were Sabbath absent for the mix, but they had nothing whatsoever to do with the sequencing of the tracks on the final record.

“That was done by the label,” remarks Butler. “If it had been left to us, then the chances are that we’d have opened up with something like Warning. Maybe it’s better we weren’t asked!”

The aforementioned song was a cover of a track first recorded a couple of years earlier by a British band called the Aynsley Dunbar Retaliation, and it’s something the bassist had brought to the band.

“It was a great blues song to jam on. I’d first done it when I was in Rare Breed, and really that’s where we developed the ideas which eventually came together on NIB.”

It is astonishing to realise just how little Black Sabbath had to do with their own debut album. But Iommi shrugs off the situation with a philosophical attitude.

“We didn’t know any better back then – it was the way things were done. The labels had so much control. Our part was to record the songs, and then leave the rest to them.”

“We had no experience of anything except playing live,” says Ozzy. “Jim Simpson just said to us, ‘On your way to catching the ferry over to Switzerland, stop off at Regent Sound and record your album.’ It was almost an afterthought.”

Armed with the tapes, Tony Hall managed to persuade Phillips to sign up the band, releasing Evil Woman… as a single on January 9, 1970, through their Fontana subsidiary. It didn’t chart, and it was another Phillips label, the newly formed Vertigo, that put out the album in the UK, on February 13, 1970 – appropriately enough a Friday. And this time, things happened fast, with the record reaching no.8 in the charts, much to everyone’s surprise.

“We didn’t even hear or see the album before it was released,” admits Tony. “The first we knew was when we got back from Europe, switched on the radio and heard Evil Woman… It was us. On the radio. That was exciting. But we were never sent the mixes of the tracks, nor shown the artwork. Nothing. Mind you, it was a lot harder back then to get anything to a band on the road.”

“I remember Jim Simpson telling me that the album had made the charts. I didn’t fucking believe it,” laughs Ozzy. “I hadn’t even played the record at that point, and I had no idea what it sounded like. So, I took a copy home to my mum and dad’s place, and put it on their record player. I recall my dad listening to it and saying to me, ‘Are you sure all you’re having is the occasional drink?’ That was hilarious! I was off my face all the fucking time. I must have overdosed every day back then.”

The man who signed Sabbath to Vertigo was label boss Olaf Wyper, who’d actually seen Sabbath once… by accident.

“I’d gone up to Birmingham for a meeting but got the wrong day. At a loose end, I went to a local club just to pass the time. The place was packed and there was this incredible band playing… Black Sabbath. Right then I knew I wanted them.”

In America, the album was released on June 30, and got to No.23 on the charts. Much to everyone’s amazement. One slight change was that Evil Woman… was dropped, in favour of another original, Wicked World, which had been the B-side of that first British single.

“It was actually the first song we’d wrote after we changed the band name to Black Sabbath,” says Ward. “Tony Iommi had this riff he’d come up with when we were still in Mythology.”

The centrepiece of the album was the title track – a formidable epic that builds to a deafeningly dark crescendo. As the drummer says, it’s the band’s anthem.

“If you listen to that song, then for me it represents everything about heavy metal,” insists Geezer. “It’s all there – the whole genre in one song. I got the idea from an incident when I woke up one night and there was a mysterious black shape at the end of my bed, just standing there. It so freaked me out that I told Ozzy about it the next day, and he came up with the lyrics. I was really into the supernatural and spiritualism, and things like that happened to me all the time.”

What drove the album was the unique instrumentation – with Iommi’s guitar sound especially becoming a signature.

“I wanted as much distortional as possible, when everyone else was going for a clean sound all the time. It used to horrify amplifier companies, because they didn’t get what I was on about. Everyone was trying to reduce the distortion, whereas I was going the other way.”

“Bands ask me all the time how I got my bass sound,” says Butler, “because they wanna copy it. That’s easy. Just have three speakers in a four-speaker cabinet, and turn everything up so loud that you blow the lot!”

The reaction to the album at the time was mixed. While some loved it, others were far from convinced. Iommi recalls one particularly vehement critic of the record.

“I read at the time about Roger Waters from Pink Floyd’s attitude. He utterly loathed what we’d done. He thought the album was total crap, and predicted that both it and us would quickly disappear. I must admit that made me laugh at the time – and still does.

“What do I think of the album now? I like it. Yes, it could have been better, and I can hear things that shouldn’t be on there. But you can sat the same about any of our records. What it does do is capture the energy and power of the band back then. And there are people trying today to get the same atmosphere.”

Perhaps it’s Ozzy Osbourne who best sums up what the album means, and why it’s become the holy grail for metal.

“You know, the four of us have fallen out over the years. But all I need to do is go back and listen to this album to realise just how much I love the other three. It’s just magic. I can’t put it better than that. I’ve been lucky in my career to have played with some great musicians. But, with great respect to all of them, this was the best of times for me. That album was so special, and changed all of our lives forever. Whatever I’ve been lucky enough to do, and the same goes for the other three guys, we owe it to that record. There were no egos, just four friends who meant the world to one another.”

This content was originally published here.

‘If You’re Reading This, It’s Too Late’ Was a Turning Point For Drake | Complex

Leading up to the release of If You’re Reading This, It’s Too Late, Drake was fed up. Feeling disrespect from competitors and boxed in by some as a “soft” artist, he made his feelings clear with a surprise 17-song pack of clapbacks on February 13, 2015, five years ago today. His resentment helped usher in a darker and more edgy era for Drake that persists to this day.

Drake’s frustrations had been brewing for a couple years. He had already been a chart-topping success, but the numbers meant little without respect. On his previous solo project, 2013’s Nothing Was the Same—released in the same year that J. Cole, JAY-Z, and Kanye West all dropped new albums—Drake addressed the audacity of not being acknowledged as one of the greats at the end of “Pound Cake,” when he rapped, “Look, fuck all that ‘Happy to be here’ shit that y’all want me on/I’m the big homie, they still be tryna lil bro me, dog/ Like I should fall in line, like I should alert niggas/When I’m ’bout to drop somethin’ crazy/And not say I’m the greatest of my generation.” When 2014 came around, he dropped “0 to 100/ The Catch Up.” On the second half of the song, he vowed to stop overthinking what the world wanted from him, and pledged to run up the score on his competition when he raps, “Maybe I’m searchin’ for the problems/Askin’ what was said and who was involved/Too focused on people’s feedback and provin’ ’em wrong/They say the shoe can always fit, no matter whose foot it’s on/These days feel like I’m squeezin’ in ’em/Whoever wore ’em before just wasn’t thinkin’ big enough/I’m ’bout to leave ’em with ’em.”

Before the tape dropped, his beefs with P. Diddy (which resulted in a melee at the club) and Tyga, who called out Drake for being “fake” in an interview with VIBE, forced The Boy to start seeing himself as the villain. This is how the story usually goes for villains; they feel so disrespected that their retaliation becomes inevitable. Drake fed into the hate and used the release of If You’re Reading This, It’s Too Late in 2015 to air out his grievances. He was tired of being the nice guy from the Take Care days.

He came in ready to talk his shit on IYRTITL. “Legend” was a pump fake, hinting at the old Drake who would approach each song with a dulcet vibratos, but the following song, “Energy,” set the tone for the rest of the tape (and frankly, the next few years). It’s a combative song with lines like, “I got enemies, got a lot of enemies/Got a lot of people tryna drain me of my energy/They tryna take the wave from a nigga/ Fuckin’ with the kid and pray for your nigga,” that presents a mood the world wasn’t completely used to hearing from Drake yet. His stance was firm, revealing that he had a lot of feelings bottled up. The first few years of his career surely led to shaking hands and policting, but he rapped with commitment of faking no more. 

The production on IYRTITL—mostly handled by PARTYNEXTDOOR, Boi-1da, 40, WondaGurl, Sevn Thomas, and Frank Dukes—was stripped back, allowing Drake’s aggressive messages to take center stage. He was rapping as raw and unfiltered as he wanted to, without the subconscious awareness that his songs needed to chart or sell. This is also reflected on the sinister “No Tellin.” Maybe he wasn’t responding to Kendrick’s verse on “Control,” but he sure was coming for other rapper’s necks: “All the rappers that you vouch for/Need to get out of the house more, they washed up/ And even if the team was religious with it I can’t really see another squad tryna’ cross us, naw.”

Drake was on a clear mission to let the world know that he was untouchable, and didn’t care for other opinions about it. To quote a line from his mentor Lil Wayne at the top of “Star67,” Drake came into the studio with clips for everyone who ever questioned his skill and character. He dabbled in a little bit of “old Drake” on songs like “Preach,” but even then, his new mentality rung out in lyrics like, “Niggas is all in they feelings these days/All in they feelings these days/ But hearing a scripture with that many 6s, you should be afraid.”

He ended the mixtape with “6PM In New York,” and the hook-less outro works as Drake’s retirement speech from his old self. He uses the song to address his beef with Tyga (“I heard a lil, lil homie talking reckless in Vibe/That’s quite a platform you chose, you should’ve kept it inside/Oh, you tried? It’s so childish calling my name on the world stage/ You need to act your age and not your girl’s age”) and taunts the world with a thought that he rightfully deserved to sit on the throne next to guys like Kanye and JAY-Z. “Yeah, boy, you rappin’ like you seen it all/You rappin’ like the throne should be the three of y’all,” he raps to himself in third person, referencing JAY-Z’s verse on Young Jeezy’s “Seen It All.”

The release of If You’re Reading This, It’s Too Late was a hot boiling confessional for Drake. He let out some momentary steam, only to start cooking again a few months later. To be a Drake fan for the rest of the year, was like watching Thanos collect all of the infinity stones. His beef with Meek Mill that summer afforded him the Power stone. When Meek Mill accused Drake of using Quentin Miller as his ghostwriter on “R.I.C.O.” and not posting his album, Dreams Worth More Than Money, he came for Drake’s head in a number of now-deleted tweets. Straight up, Meek caught a hot-headed Drake at the wrong time. Drake addressed the issues in a quick two-piece that brought us “Charged Up” and the Grammy-nominated “Back to Back.” His win was lopsided, and further proved that the new Drake was just as sharp in battle as he was on a studio project. Instead of letting the heat burn him down as it once did, any time a new issue arrived, it was like adding gasoline to his fire. 

When he dropped What A Time To Be Alive that summer with Future, Drake’s unapologetically rough side was validated. At this point, he had been at it for months and kept his energy consistent since IYRTITL. The theme of that tape was no gimmick—it was Drake’s new world to play in. 

For a brief four minutes at the end of What A Time To Be Alive, on “30 for 30,” Drake sent a eulogy to his old self again. “Used to give no reaction, now I’m overreacting,” he rapped. A few drama-filled years resulted in an eternal irreparable mood that he accepted for himself. “Drastically changin’, thank you for all your patience/I’m just in a different space and I choose to embrace it,” he continued. 

Over the next few years, Drake would operate with an all-time high success rate. He became the Drake who bulked up physically and grew out his facial hair; the Drake who rapped with street codes to show that he wasn’t as soft as the suburbs he shot Degrassi in; the Drake who had so much firepower and confidence that he could cross over into latin trap, afrobeats, and U.K. drill. He became the Drake who learned how to feed off of hate, disrespect, and anger, instead of being defeated by the mounting pressure. This can all be traced back to the time in 2015 when Drake had enough.

This content was originally published here.

Da Dimi-Diminsa: Ka Da Ka Sake Zuwa Borno, Shekau Ga Buhari

Shugaban kungiyar Boko Haram, Abubakar Shekau, ya aike wa shugaban kasa Muhammadu Buhari sakon gargadi inda ya gaya masa cewa kar ya kara saka kafar sa zuwa jihar Borno.

Shekau wanda ya yi furucin a cikin wani faifan bidiyo, wanda jaridar TheCable ta saki a shafinta, ya nuna yadda shugaban yan tada kayar bayan ya takarkare; gaban sa gadi, ya ce shugaba Buhari ya sani kan cewa yaransa suna nan a kowane lungu da sakon yankin arewa maso gabas.

Ya ce, idan ko ba haka ba za su dauki matakin kai wa shugaban kasa hari, muddin ya kara kai wata ziyara a Borno.  “Buhari ka sake zuwa Maiduguri ka gani, ba kana ganin cewa kai daukaka ba. Kar ya kara gwada yin haka nan gaba”. In ji Shekau a cikin bidiyon, wanda ya yi a harshen Hausa.

A lokacin da ya koma kan batun sako yan makarantar Chibok, Shekau ya bayar da sharadin cewa babu ta yadda za su saki yan matan matukar gwamnatin tarayya ba ta sako mata mambobinta da take rike dasu ba.

Idan dai za a iya tunawa, mayakan sun yi awon gaba da yan makarantar Chibok kimanin 276, a ranar 15 ga watan Apirilun 2014 daga makarantar sakandiren yan mata da ke garin.

Wanda tun daga wancan lokacin, maharan Boko Haram din sun sako wasu kadan daga cikin su, tare da ci gaba da rike sauran, ciki kuwa har Leah Sharebu, ta makarantar Dapchi.

A hannu guda kuma, maharan sun kai wani farmaki a birnin Maiduguri, yan awanni da kai ziyarar jajantawa jama’ar jihar Borno, da shugaba Buhari ya kai a ranar Laraba, bisa mummunan harin da mayakan suka kai wanda ya yi sanadin mutuwar mutum 30 a kauyen Auno a Borno.

This content was originally published here.

Meghan reveals her demands for Valentine’s Day and Prince Harry will have to be on his game | Entertainment Daily

Before meeting and marrying Prince Harry, Meghan Markle revealed what her ideal Valentine’s Day would be.

The mum-of-one previously wrote on her former blog The Tig in 2015 that she would love to wake up to “breakfast in bed” as she’s a “sucker” for the romantic day.

She wrote: “Hook, line and sinker, I am such a sucker for Valentine’s Day.

Meghan previously admitted she’s a “sucker” for the romantic day (Credit: SplashNews.com)

“Without fail, every February 14th, I wake up feeling like I’m immersed in a Robert Doisneau photo, waiting with bated breath to be dipped into a kiss.

“This is all happening in black and white, of course.

“And in terms of gifts, be it breakfast in bed, a sweet love note, or a single flower, it really is the thought that counts.”

Meghan and Harry recently stepped back from royal life and have been spending time in Canada with their son Archie.

It was recently reported that the former actress is enjoying a quieter life spent doing yoga and cooking food for Archie.

Meghan and Harry recently stepped away from royal life (Credit: SplashNews.com)

According to the Mail Online, a source said: “Meghan has no regrets and the sky’s the limit. She said [she and Harry] feel like a huge weight has been lifted.

“They’ve been spending quality time together as a family. Meghan has been cooking and making homemade baby food for Archie.”

The insider claimed that Meghan told her friends that she can “breathe again” now that she is free to focus on her career and family.

“She also felt like she couldn’t be the best mother to Archie if she wasn’t being her true, authentic self. Something she felt she couldn’t be in the royal family confines,” the person added. “She said she didn’t want Archie picking up on her stress and anxiety.

“She felt like it was a toxic environment for him because there was too much tension and pent-up frustrations.”

It was reported that Meghan is enjoying a quieter life spent doing yoga and cooking food for Archie (Credit: SplashNews.com)

Meanwhile, author Germaine Greer recently said she believes Meghan is ‘faking’ her love for Harry.

Speaking to Australian show 60 Minutes, Germaine said: “If [Meghan has] been faking it all this time, oh boy, what misery.

“How many orgasms will it take? How many fake groans will get her through this?”

Leave us a comment on our Facebook page @EntertainmentDailyFix and let us know what you think of this story.

This content was originally published here.

Prince Harry is ‘much happier in Canada than the UK’ and ‘doesn’t regret stepping down’ | Daily Mail Online

Prince Harry is much happier since stepping down from his duties as as senior royal and moving to Canada, a source has claimed.

In January, the son of Prince Charles announced that he and his wife Meghan Markle would be splitting their time between the UK and North America, and working towards becoming financially independent. 

‘Harry’s much happier in Canada and feels a lot more relaxed. So far he doesn’t regret the move’ a source told Us Weekly.

They added that protecting his wife and young son was Harry’s ‘number one priority’, and that he’s happy that he’s followed through. 

Scroll down for video 

Prince Harry is much happier since stepping down from his duties as as senior royal and moving to Canada, a source has claimed. Harry and Meghan are pictured here departing Canada House in London on January 7

It comes after a close friend exclusively revealed to DailyMail.com that Meghan Markle also has ‘no regrets’ about quitting the royal family and has been telling her friends she can have it all.

‘The sky’s the limit. She said [she and Harry] feel like a huge weight has been lifted,’ the insider explained.  

The Duke and Duchess of Sussex recently made a trip to Miami where Prince Harry spoke at a JP Morgan ‘billionaire’s summit’, where the two could have earned up to $1 million for the gig – during which Harry spoke about his mental health and therapy.

Prior to the jaunt to Florida, the couple had been holed up with their nine-month-old son Archie at a $14 million waterfront Vancouver Island mansion after announcing their bombshell departure news in early January.  

In January, the son of Prince Charles announced that he and his wife Meghan Markle would be splitting their time between the UK and North America, and becoming financially independent from the Queen. They are pictured here with their son Archie in South Africa last September

‘They’ve been spending quality time together as a family. Meghan has been cooking and making homemade baby food for Archie,’ the friend said.

Now with a routine in place, Meghan has been taking the steps to relaunch her career, with the insider adding: ‘Meghan said her work with Disney is far from over. The voice over is just the beginning and that there’s more collaborations to come.’  

It was previously revealed Meghan signed a voice over deal with Disney in return for a donation to the charity Elephants Without Borders. 

The deal was made after Prince Harry, 35,  was caught on film touting his wife’s skills to Disney boss Bob Iger at the premiere of The Lion King in London in July 2019. 

It seems the couple, who said they wanted to be financially independent when they stepped back from their royal duties, are eager to forge ahead with their new plan. 

Their visit to Miami marks the first public appearance Meghan and Harry have made as a couple since their shock announcement. 

One insider said the royals were ‘smart’ to take the gig, adding: ‘[It was] a very smart move to get in with some of the world’s richest people. 

‘The conference is all about building wealth for future generations, and making the world better for future generations, a topic close to Harry’s heart.’

The insider said: ‘Meghan said her work with Disney is far from over. The voice over is just the beginning and that there’s more collaborations to come.’ It was previously reported Meghan signed a voice over deal with Disney in return for a donation to the elephant charity Elephants Without Borders. The deal was made months after Prince Harry was caught on film touting his wife’s skills to Disney boss Bob Iger at the premiere of The Lion King in London in July 2019

Ronn Torossian, CEO of New York-based PR firm 5W Public Relations, told the Mail he would expect the couple to have made between $500,000 and $1 million from the appearance.  

PR executive Simon Huck – who is a friend of the Kardashian family – has already estimated that Meghan alone can make $100 million this year.  

With more work on the horizon, Meghan is on the hunt for a manager or agent for future projects – two years after giving up her acting career to marry Harry.

The close friend said the couple can do ‘pretty much do everything from their house’, and have been ‘taking meetings and building up their hand-picked team, which will include her mom as a special advisor.’ 

Prince Harry is ‘much happier in Canada than the UK’ and ‘doesn’t regret stepping down’

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Jim Carrey Under Fire for Telling Female Journalist She’s on His ‘Bucket List’ During Interview

Jim Carrey is being criticized for comments he made regarding a female journalist during a recent interview.

While promoting his new film Sonic the Hedgehog, the actor, who plays villain Dr. Robotnik in the film, did an interview with U.K. publication Heat. During the sit-down, which was posted online by the publication, entertainment reporter Charlotte Long asked Carey, 58, if there were still any big achievements that he still hoped to check off his bucket list.  

“In the film, Sonic has a bucket list, I was wondering, after all you’ve done in your career and in your life, is there anything still left on your bucket list?” she asked.

“Just you,” he replied. “That’s it. It’s all done now.”

“I don’t know what to say to that,” she said with a laugh as the actor, also laughing, told her to “just own it.”

Many online were quick to speak out against Carrey, labeling his remarks as inappropriate and “unacceptable.”

Look up ‘sleazeball’ in the dictionary and there’s a photo of @JimCarrey,” wrote one Twitter user, as another added: “It’s not a cute moment. As a former reporter, I would be very embarrassed and offended if someone said this to me in an interview.”

Another Twitter user wrote that while they’re “huge” fans of the actor, “this is really unacceptable.”

“Lost respect for him today,” they continued, while praising Long, who has since made her Twitter page private, for the way she handled the interaction, which occurred during the middle of the interview.

“Whyyy is this kind of thing still going on? Well handled, you’re a legend,” added another.

Look up “sleazeball” in the dictionary and there’s a photo of @JimCarrey

— vicki pope (@vicki_pope) February 12, 2020

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Such a huge of @JimCarrey but lost respect for him today. This is really unacceptable, I wish and hope he apologizes to you. But you handled it really well, more Power to you! I ✊✊✊

— Renison Pereira #TimesUpIndia (@Renison007) February 12, 2020

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Several social media users also spoke out in the actor’s defense, claiming that he was referring to the interview being on his bucket list.

He didn’t insinuate sex, he said he was done with his bucket list. It was an off the cuff remark. People need to relax. If anything he made it seem like it was the interview on his bucket list,” wrote one Twitter user. “He was trying to be nice. Relax everyone.”

“It’s about as innocent as as a line gets. You obviously meant the interview with her,” added another, while a third wrote: “This fake Jim Carrey outrage is insane. He clearly meant the interview with her was the last thing on his bucket list, indicated by saying ‘it’s done now.’ ”

Carrey’s rep didn’t immediately respond to PEOPLE’s request for comment.

Sonic the Hedgehog opens Friday.

This content was originally published here.

Anna Kournikova and Enrique Iglesias show off new baby girl | Daily Mail Online

Meet Anna Kournikova and Enrique Iglesias’ baby! Proud parents unveil snaps of newborn daughter as they brand bundle joy their ‘Sunshine’

Enrique Iglesias and Anna Kournikova took to Instagram to share shots of their newborn daughter on Thursday, two weeks after welcoming her into the world.

In his heartwarming snap, the Spanish singer, 44, is seen donning a green hospital gown, hair net and mask as he peers lovingly at his new bundle of joy – who adorably dons a striped hat on her head with a bow.

Mother-of-three Anna, 38, uploaded a snap just minutes later, showing her smiling broadly as she lies on a hospital bed while cradling her little daughter’s head.

Doting daddy: Enrique Iglesias took to Instagram to share a shot of his newborn daughter on Thursday, two weeks after welcoming her into the world

Confirming the baby’s date of birth to be January 30th, the proud parents uploaded their shots with identical captions, which read: ‘My Sunshine 01.30.2020.’

Former tennis player Anna already has two-year-old twins, Lucy and Nicholas, with long-term partner Enrique.

Spanish singer Enrique’s brother Julio Iglesias Jr. initially confirmed that Russian beauty Anna had given birth in an interview with Chilean radio station ADN.

Mama: Mother-of-three Anna, 38, uploaded a snap just minutes later, which shows her smiling broadly as she lies on a hospital bed while cradling her little daughter’s head

When asked about rumours he was going to be an uncle again, he said: ‘I’ve already become an uncle.’

And when the interviewer sought clarification he was not referring to the star couple’s two other children by asking: ‘Has the baby already been born?’ the 46-year-old answered: ‘Yes.’

But, in keeping with the couple’s insistence on keeping their private lives out of the limelight, he said on whether the newborn was a boy or girl: ‘It’s a secret.’

He added: ‘My brother now has three children. He’s very happy.’  

Three is a magic number! The new arrival is the couple’s third child. Pictured together in 2010

Cuties! Russian tennis star Anna, 38, gave birth to twins Lucy and Nicholas in December 2017

Pictures obtained by Spain‘s Hola! magazine previously showed the pair on a boat in Miami, with Anna appearing to have a large bump

It is no surprise the pair had kept Anna’s pregnancy under wraps as they didn’t reveal they were expecting their twins until days after the tots were born.

Hero singer Enrique previously admitted he hopes he’s a ‘cool’ dad but also felt he’d developed a new sense of responsibility since welcoming his twins into the world.

He said: ‘It’s one of the best feelings in the world. [I’m more responsible]. I drive slower. I think about stupid things a few more times before doing them. I hope to be a cool, easy-going dad.’

Sweet: Spanish singer Enrique’s brother Julio Iglesias Jr, initially confirmed that Anna had given birth in an interview with Chilean radio station ADN. Pictured together in 2003

Dad: Enrique and Anna have yet to share any such baby news on their Instagram accounts, but the singer shared a shot of himself swimming with one of his offspring last month

The photogenic couple embarked on a romance back in 2001 after meting on the set of his Escape music video. 

Enrique has kept his personal life — including his relationship with Anna — out of the spotlight for many years, and shares a few rare shots with his children on Instagram.

He previously admitted he doesn’t think ‘perfect relationships’ exist as there can be ‘bad times’ between every couple.

He shared: ‘You go through your good times, you go through your bad times. It’s a tough thing for me to believe there’s such a thing as the perfect relationship. I don’t think that exists.

‘Firstly, she’s the coolest girl in the world. And she understands who I am, to the point where she’s willing to sacrifice her personal time with me and let me do my music. It’s a huge sacrifice and I respect that tremendously.’

Dad: Enrique has kept his personal life — including his relationship with Anna — out of the spotlight for many years, and shares a few rare shots with his children on Instagram

Anna Kournikova and Enrique Iglesias show off new baby girl

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Malika Haqq Addresses Relationship with Baby Daddy O.T. Genasis

Malika Haqq has confirmed O.T. Genasis is the father of her unborn baby; however, the best friend of Khloe Kardashian says they’re no longer involved romantically.

Taking to Instagram Wednesday night to share a photo of the former couple from her teddy bear-themed baby shower this past Saturday, Malika explained she and the rapper — real name Odis Oliver Flores — haven’t been together for the majority of her pregnancy.

Khloe Kardashian’s BFF Malika Haqq Posts Nude Snap 8 Months Pregnant

“Relationships don’t always work out the way we would hope but between love & friendship we have created a baby boy that will be here very soon,” she wrote alongside the photo.

“I’ve been single the last 8 months but I am in no way alone,” she went on, adding that O.T. has “attended every doctors apt.” She said they’ve loved their son “together while anticipating his arrival.”

“My priority over the past few months has been to nurture and protect my unborn child,” she explained. “Our baby would not be who he is without his father and I thank God for the spirit that grows inside of me. Only thing that matters, we are Baby Flores parents.”

The rapper confirmed his role in the baby’s life on Instagram by sharing a solo shot from the photo booth at Saturday’s shower. “My son on da way… Give me a baby name now… GO!!!” he captioned the shot, which shows him pointing toward the camera with the words “Malika’s having a baby!” written above his head.

Speculation about the identity of Malika’s baby daddy began the day she announced her pregnancy in September of last year — with a paid sponsorship by Clearblue. “I listen to my heart, and I’ve decided that the rest of my life will be the best of my life. I’m pregnant!” she captioned a selfie. “I didn’t know when, I just knew one day. God said it’s my turn, and I couldn’t be more grateful for the little spirit that grows inside of me. I am yours, baby, and you are mine.”

Not only did the reality star make no mention of O.T. in her announcement, but he remained to be seen in any of her subsequent posts showing off her growing belly.

Khloe Kardashian’s BFF Malika Haqq Shares First Sonogram of Baby

At the time, Malika told PEOPLE she wanted to focus on herself and her growing baby. “I’m leaving him out of this, just for now,” she said of the baby’s father’s identity. “This is all me.”

She went on to say she would “absolutely” reveal his name but that it would “unfold at a later date.”

Malika and O.T. broke things off after dating on and off for two years.

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The Kardashians Sizzle Inside Malika Haqq’s Baby Shower

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