Bella Hadid reacts as Drake’s album fuels romance rumors

Bella Hadid was quick to deny the rumors. (File photo: AFP)
Updated 30 June 2018
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Bella Hadid reacts as Drake’s album fuels romance rumors

DUBAI: Canadian rapper Drake set the Internet alight on Friday when he dropped his latest album, “Scorpion.”
Spotify said the album was streaming at an average rate of 10 million times an hour on Friday, while Apple Music said it was the No. 1 streamed album in 92 countries.
On the 25-track double album, Drake, 31, confirms long-standing rumors that he has fathered a son, but does not name the mother.
However, that’s not the only thing he reveals about his private life.
In the track “Finesse,” Drake raps: “I want my baby to have your eyes, I’m going against my own advice / Should I do New York? I can’t decide / Fashion Week is more your thing than mine.”
Social media users were quick to speculate that the lyrics referred to a rumored former romance with US-Palestinian model Bella Hadid, not least because of the line, “You stay on my mind / You and your sister too hot to handle.”

Fans theorized that Drake was referring to Bella and her equally famous sister, Gigi.

However, Bella took those commenters to task and responded to the claims on Twitter almost as soon as the album came out, saying: “Not me!! That’s disrespectful. WHY CAN’T PPL BE FRIENDS w/o all the insinuation (sic).”


The album marks Drake’s comeback after an infamous diss track was released a month ago by rapper Pusha T, in which he first revealed that Drake has a secret child.
Damien Scott, Complex’s editor-in-chief and vice president of content and development, told the Associated Press that he thought Drake might have gone back in the studio to re-record “Scorpion” following Pusha T’s shocking revelation — “A baby’s involved, it’s deeper than rap/We talkin’ character, let me keep with the facts/You are hiding a child, let that boy come home,” Pusha T rapped on the track.
Scott may have been right. For the first time Drake addresses his son in a song, rapping on “Emotionless:” “I wasn’t hiding my kid from the world, I was hiding the world from my kid.” On the closing track, “March 14,” he raps about being a single father and says: “She’s not my lover like Billie Jean, but the kid is mine.”
“Scorpion,” which features songs with Jay-Z and a previously unreleased Michael Jackson track, includes the massive No. 1 hits “God’s Plan” and “Nice for What.” It follows Drake’s best-selling 2016 album “Views” and his 2017 release “More Life,” which set a record across all music streaming services of 385 million streams in its first week of release.
The Recording Industry Association of America said on Friday that Drake had become its top digital song artist, with 142 million digital single sales units, ahead of Rihanna and Taylor Swift.
Drake’s latest offering is a joint release on Warner Bros. and Universal Music-owned labels OVO Sound, Young Money Entertainment, Cash Money Records and Republic Records, Reuters reported.


OPINION: Saudi Arabia’s cultural continuum: from heritage to contemporary AlUla

Updated 12 February 2026
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OPINION: Saudi Arabia’s cultural continuum: from heritage to contemporary AlUla

  • The director of arts & creative industries at the Royal Commission for AlUla writes about the Kingdom’s cultural growth

AlUla: Saudi Arabia’s relationship with culture isa long and rich. It doesn’t begin with modern museums or contemporary installations, but in the woven textiles of nomadic encampments, traditional jewellery and ceramics, and of course palm‑frond weaving traditions. For centuries, Saudi artisans have worked with materials drawn directly from their environment creating objects that are functional, but also expressions of identity and artistry.

Many of these traditions have been recognised internationally, with crafts such as Al-Sadu weaving inscribed on UNESCO’s Intangible Cultural Heritage list.

Sadu weaving. (Getty Images)

This grounding in landscapes, resources, and collective history means Saudi Arabia’s current cultural momentum is not sudden, but the natural result of decades — even centuries — of groundwork. From the preservation of heritage sites and, areas, some of which have been transformed into world-renowned art districts, to, the creation of institutions devoted to craft, the stage has been set for a moment where contemporary creativity can move forward with confidence, because it is deeply rooted.

AlUla, with its 7,000 years of human history, offers one of the clearest views into this continuum. Millennia-old inscriptions at Dadan and Jabal Ikmah stand alongside restored mudbrick homes in Old Town and UNESCO-listed Hegra. In the present, initiatives like Madrasat Addeera carry forward AlUla’s craft traditions through design residencies and material research. And, each winter, the AlUla Arts Festival knots these threads together, creating a season in which heritage and contemporary practice meet.

Hamad Alhomiedan, the director of arts & creative industries at the Royal Commission for AlUla. (Supplied)

This year, that dialogue began in the open desert with Desert X AlUla 2026. Now in its fourth edition, the exhibition feels like the pinnacle of the current moment where contemporary art, heritage, and forward-thinking meet without boundaries. The theme of Desert X AlUla 2026 was “Space Without Measure,” inspired by the work of Lebanese-American artist and writer Kahlil Gibran[HA1] [MJ2] . The theme invited artists to respond to the horizons of AlUla’s landscape and interpret its wonder through their perspective.

Works by Saudi and international figures converse directly with nature: Mohammed Al-Saleem’s modernist sculptures bring in celestial-inspired geometry; Maria Magdalena Campos-Pons translates the colour of AlUla’s sunsets; Agnes Denes “Living Pyramid” turns the oasis into a vertical landscape of indigenous plants, . The 11 artists of this year’s edition were able to capture AlUla’s essence while creating monumental works that speak directly to our relationship with the environment. 

Artist Performance at Desert X AlUla 2026 by Maria Magdelena Compos Pons and Kamaal Malak. (Courtesy of Arts AlUla and AlUla Moments)

In AlJadidah Arts District, “Material Witness: Celebrating Design From Within,” features heritage craft and material research from Madrasat Addeera alongside work by regional and international designers, showing how they translate heritage materials into contemporary forms.[HA3] [MJ4] 

Music adds another element of vitality, filling the streets of AlJadidah Arts District, with performances supported by AlUla Music Hub, featuring local musicians.

The opening of “Arduna,” the first exhibition presented byof the AlUla Contemporary Art Museum, co-curated with France’s Centre Pompidou, adds another layer to this conversation. Featuring Saudi, regional, and international artists, from Picasso and Kandinsky to Etel Adnan, Ayman Zedani and Manal AlDowayan, the [HA5] [MJ6] exhibition signals the emergence of a global institution rooted in the heritage and environment of AlUla, placing local voices in context with world masters.

Each activation in this year’s AlUla Arts Festival is part of the same Saudi cultural continuum, . This is why the Kingdom’s cultural rise feels different from rapid developments elsewhere. The scale of cultural infrastructure investment is extraordinary, but its deeper strength lies in how that investment connects to living traditions and landscapes.

The journey is only accelerating. Rooted in heritage yet open to the world, the Kingdom’s cultural future is being shaped not by sudden inspiration, but by our traditions and history meeting the imagination and creative voices of our present.