https://www.cnn.com/2019/11/20/entertainment/julia-roberts-harriet-tubman-trnd/index.html
2019-11-20 14:32:00Z
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The 62nd GRAMMY Awards are right around the corner, airing Jan. 26 on CBS, but the nominations are here now! Find out who is nominated in each of the 84 categories in the full list below (use the links to jump to a desired field).
1. Record Of The Year
Award to the Artist and to the Producer(s), Recording Engineer(s) and/or Mixer(s) and mastering engineer(s), if other than the artist.
2. Album Of The Year
Award to Artist(s) and to Featured Artist(s), Songwriter(s) of new material, Producer(s), Recording Engineer(s), Mixer(s) and Mastering Engineer(s) credited with at least 33% playing time of the album, if other than Artist.
3. Song Of The Year
A Songwriter(s) Award. A song is eligible if it was first released or if it first achieved prominence during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.
4. Best New Artist
An artist will be considered for Best New Artist if their eligibility year release/s achieved a breakthrough into the public consciousness and notably impacted the musical landscape.
5. Best Pop Solo Performance
For new vocal or instrumental pop recordings. Singles or Tracks only.
6. Best Pop Duo/Group Performance
For new vocal or instrumental duo/group or collaborative pop recordings. Singles or Tracks only.
7. Best Traditional Pop Vocal Album
For albums containing at least 51% playing time of new traditional pop recordings.
8. Best Pop Vocal Album
For albums containing at least 51% playing time of new vocal pop recordings.
9. Best Dance Recording
For solo, duo, group or collaborative performances. Vocal or Instrumental. Singles or tracks only.
10. Best Dance/Electronic Album
For vocal or instrumental albums. Albums only.
11. Best Contemporary Instrumental Album
For albums containing approximately 51% or more playing time of instrumental material. For albums containing at least 51% playing time of new recordings.
12. Best Rock Performance
For new vocal or instrumental solo, duo/group or collaborative rock recordings.
13. Best Metal Performance
For new vocal or instrumental solo, duo/group or collaborative metal recordings.
14. Best Rock Song
A Songwriter(s) Award. Includes Rock, Hard Rock and Metal songs. A song is eligible if it was first released or if it first achieved prominence during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.
15. Best Rock Album
For albums containing at least 51% playing time of new rock, hard rock or metal recordings.
16. Best Alternative Music Album
Vocal or Instrumental.
17. Best R&B Performance
For new vocal or instrumental R&B recordings.
18. Best Traditional R&B Performance
For new vocal or instrumental traditional R&B recordings.
19. Best R&B Song
A Songwriter(s) Award. A song is eligible if it was first released or if it first achieved prominence during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.
20. Best Urban Contemporary Album
For albums containing at least 51% playing time of newly recorded contemporary vocal tracks derivative of R&B.
21. Best R&B Album
For albums containing at least 51% playing time of new R&B recordings.
22. Best Rap Performance
For a Rap performance. Singles or Tracks only.
23. Best Rap/Sung Performance
For a solo or collaborative performance containing both elements of R&B melodies and Rap.
24. Best Rap Song
A Songwriter(s) Award. A song is eligible if it was first released or if it first achieved prominence during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.
25. Best Rap Album
For albums containing at least 51% playing time of new rap recordings.
26. Best Country Solo Performance
For new vocal or instrumental solo country recordings.
27. Best Country Duo/Group Performance
For new vocal or instrumental duo/group or collaborative country recordings.
28. Best Country Song
A Songwriter(s) Award. A song is eligible if it was first released or if it first achieved prominence during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.
29. Best Country Album
For albums containing at least 51% playing time of new country recordings.
30. Best New Age Album
For albums containing at least 51% playing time of new vocal or instrumental new age recordings.
31. Best Improvised Jazz Solo
For an instrumental jazz solo performance. Two equal performers on one recording may be eligible as one entry. If the soloist listed appears on a recording billed to another artist, the latter's name is in parenthesis for identification. Singles or Tracks only.
32. Best Jazz Vocal Album
For albums containing at least 51% playing time of new vocal jazz recordings.
33. Best Jazz Instrumental Album
For albums containing at least 51% playing time of new instrumental jazz recordings.
34. Best Large Jazz Ensemble Album
For albums containing at least 51% playing time of new ensemble jazz recordings.
35. Best Latin Jazz Album
For vocal or instrumental albums containing at least 51% playing time of newly recorded material. The intent of this category is to recognize recordings that represent the blending of jazz with Latin, Iberian-American, Brazilian, and Argentinian tango music.
36. Best Gospel Performance/Song
This award is given to the artist(s) and songwriter(s) (for new compositions) for the best traditional Christian, roots gospel or contemporary gospel single or track.
37. Best Contemporary Christian Music Performance/Song
This award is given to the artist(s) and songwriter(s) (for new compositions) for the best contemporary Christian pop, Christian rap/hip-hop, or Christian rock single or track.
38. Best Gospel Album
For albums containing at least 51% playing time of newly recorded, vocal, traditional or contemporary/R&B gospel music recordings.
39. Best Contemporary Christian Music Album
For albums containing at least 51% playing time of newly recorded, vocal, contemporary Christian music, including pop, rap/hip hop, or rock recordings.
40. Best Roots Gospel Album
For albums containing at least 51% playing time of newly recorded, vocal, traditional/roots gospel music, including country, Southern gospel, bluegrass, and Americana recordings.
41. Best Latin Pop Album
For albums containing at least 51% playing time of new Latin pop recordings.
42. Best Latin Rock, Urban or Alternative Album
For albums containing at least 51% playing time of new Latin rock, urban or alternative recordings.
43. Best Regional Mexican Music Album (Including Tejano)
For albums containing at least 51% playing time of new regional Mexican (banda, norteño, corridos, gruperos, mariachi, ranchera and Tejano) recordings.
44. Best Tropical Latin Album
For albums containing at least 51% playing time of new tropical Latin recordings.
45. Best American Roots Performance
For new vocal or instrumental American Roots recordings. This is for performances in the style of any of the subgenres encompassed in the American Roots Music field including Americana, bluegrass, blues, folk or regional roots. Award to the artist(s).
46. Best American Roots Song
A Songwriter(s) Award. Includes Americana, bluegrass, traditional blues, contemporary blues, folk or regional roots songs. A song is eligible if it was first released or if it first achieved prominence during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.
47. Best Americana Album
For albums containing at least 51% playing time of new vocal or instrumental Americana recordings.
48. Best Bluegrass Album
For albums containing at least 51% playing time of new vocal or instrumental bluegrass recordings.
49. Best Traditional Blues Album
For albums containing at least 51% playing time of new vocal or instrumental traditional blues recordings.
50. Best Contemporary Blues Album
For albums containing at least 51% playing time of new vocal or instrumental contemporary blues recordings.
51. Best Folk Album
For albums containing at least 51% playing time of new vocal or instrumental folk recordings.
52. Best Regional Roots Music Album
For albums containing at least 51% playing time of new vocal or instrumental regional roots music recordings.
53. Best Reggae Album
For albums containing at least 51% playing time of new reggae recordings.
54. Best World Music Album
For albums containing at least 51% playing time of new vocal or instrumental World Music recordings.
55. Best Children's Album
For albums containing at least 51% playing time of new musical or spoken word recordings that are created and intended specifically for children.
56. Best Spoken Word Album (Includes Poetry, Audio Books & Storytelling)
57. Best Comedy Album
For albums containing at least 51% playing time of new recordings.
58. Best Musical Theater Album
For albums containing at least 51% playing time of new recordings. Award to the principle vocalist(s) and the album producer(s) of 51% or more playing time of the album. The lyricist(s) and composer(s) of a new score are eligible for an Award if they have written and/or composed a new score which comprises 51% or more playing time of the album.
59. Best Compilation Soundtrack For Visual Media
Award to the artist(s) and/or ‘in studio' producer(s) of a majority of the tracks on the album. In the absence of both, award to the one or two individuals proactively responsible for the concept and musical direction of the album and for the selection of artists, songs and producers, as applicable. Award also goes to appropriately credited music supervisor(s).
60. Best Score Soundtrack For Visual Media
Award to Composer(s) for an original score created specifically for, or as a companion to, a current legitimate motion picture, television show or series, video games or other visual media.
61. Best Song Written For Visual Media
A Songwriter(s) award. For a song (melody & lyrics) written specifically for a motion picture, television, video games or other visual media, and released for the first time during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.
62. Best Instrumental Composition
A Composer's Award for an original composition (not an adaptation) first released during the Eligibility Year. Singles or Tracks only.
63. Best Arrangement, Instrumental or A Cappella
An Arranger's Award. (Artist names appear in parentheses.) Singles or Tracks only.
64. Best Arrangement, Instruments and Vocals
An Arranger's Award. (Artist names appear in parentheses.) Singles or Tracks only.
65. Best Recording Package
66. Best Boxed Or Special Limited Edition Package
67. Best Album Notes
68. Best Historical Album
69. Best Engineered Album, Non-Classical
An Engineer's Award. (Artists names appear in parentheses.)
70. Producer Of The Year, Non-Classical
A Producer's Award. (Artists names appear in parentheses.)
• Arizona Baby (Kevin Abstract) (A)
• Lover (Taylor Swift) (A)
• Norman F***ing Rockwell! (Lana Del Rey) (A)
• Red Hearse (Red Hearse) (A)
• The Angels In Heaven Done Signed My Name (Leo Bud Welch) (A)
• "Let's Rock" (The Black Keys) (A)
• Mockingbird (The Gibson Brothers) (A)
• Myth Of A Man (Night Beats) (A)
• Southern Gentleman (Dee White) (A)
• Walk Through Fire (Yola) (A)
• Heat Of The Summer (Young The Giant) (T)
• Hundred (Khalid) (T)
• No Drug Like Me (Carly Rae Jepsen) (T)
• Outta My Head (Khalid With John Mayer) (T)
• Social Cues (Cage The Elephant) (A)
• Superposition (Young The Giant) (T)
• Too Much (Carly Rae Jepsen) (T)
• Vertigo (Khalid) (T)
• Zero (From "Ralph Breaks The Internet") (Imagine Dragons) (T)
• When We Fall Asleep, Where Do We Go? (Billie Eilish) (A)
• Almost Free (Fidlar) (A)
• Burning (Maggie Rogers) (T)
• Confidence (X Ambassadors Featuring K.Flay) (T)
• Juice (Lizzo) (T)
• Kingdom Of One (Maren Morris) (T)
• Power Is Power (SZA Featuring The Weekend & Travis Scott) (T)
• Tempo (Lizzo Featuring Missy Elliott) (T)
• Truth Hurts (Lizzo) (T)
• The Wrong Man (Ross Golan) (A)
71. Best Remixed Recording
A Remixer's Award. (Artists names appear in parentheses for identification.) Singles or Tracks only.
72. Best Immersive Audio Album
For vocal or instrumental albums in any genre. Must be commercially released on DVD-Audio, DVD-Video, SACD, Blu-Ray, or burned download-only/streaming-only copies and must provide a new surround mix of four or more channels. Award to the surround mix engineer, surround producer (if any) and surround mastering engineer (if any).
73. Best Engineered Album, Classical
An Engineer's Award. (Artist names appear in parentheses.)
74. Producer Of The Year, Classical
A Producer's Award. (Artist names appear in parentheses.)
• Artifacts - The Music Of Michael McGlynn (Charles Bruffy & Kansas City Chorale)
• Berlioz: Symphonie Fantastique; Fantaisie Sur La Tempête De Shakespeare (Andrew Davis & Toronto Symphony Orchestra)
• Copland: Billy The Kid; Grohg (Leonard Slatkin & Detroit Symphony Orchestra)
• Duruflé: Complete Choral Works (Robert Simpson & Houston Chamber Choir)
• Glass: Symphony No. 5 (Julian Wachner, The Choir Of Trinity Wall Street, Trinity Youth Chorus, Downtown Voices & Novus NY)
• Sander: The Divine Liturgy Of St. John Chrysostom (Peter Jermihov & PaTRAM Institute Singers)
• Smith, K.: Canticle (Craig Hella Johnson & Cincinnati Vocal Arts Ensemble)
• Visions Take Flight (Mei-Ann Chen & ROCO)
• Project W - Works By Diverse Women Composers (Mei-Ann Chen & Chicago Sinfonietta)
• Silenced Voices (Black Oak Ensemble)
• 20th Century Harpsichord Concertos (Jory Vinikour, Scott Speck & Chicago Philharmonic)
• Twentieth Century Oboe Sonatas (Alex Klein & Phillip Bush)
• Winged Creatures & Other Works For Flute, Clarinet, And Orchestra (Anthony McGill, Demarre McGill, Allen Tinkham & Chicago Youth Symphony Orchestra)
• Bates: Children Of Adam; Vaughan Williams: Dona Nobis Pacem (Steven Smith, Erin R. Freeman, Richmond Symphony & Chorus)
• The Orchestral Organ (Jan Kraybill)
• The Poetry Of Places (Nadia Shpachenko)
• Rachmaninoff - Hermitage Piano Trio (Hermitage Piano Trio)
• Himmelborgen (Elisabeth Holte, Kåre Nordstoga & Uranienborg Vokalensemble)
• Kleiberg: Do You Believe In Heather? (Various Artists)
• Ljos (Fauna Vokalkvintett)
• LUX (Anita Brevik, Trondheimsolistene & Nidarosdomens Jentekor)
• Trachea (Tone Bianca Sparre Dahl & Schola Cantorum)
• Veneliti (Håkon Daniel Nystedt & Oslo Kammerkor)
• Bruckner: Symphony No. 9 (Manfred Honeck & Pittsburgh Symphony Orchestra)
75. Best Orchestral Performance
Award to the Conductor and to the Orchestra.
76. Best Opera Recording
Award to the Conductor, Album Producer(s) and Principal Soloists.
77. Best Choral Performance
Award to the Conductor, and to the Choral Director and/or Chorus Master where applicable and to the Choral Organization/Ensemble.
78. Best Chamber Music/Small Ensemble Performance
For new recordings of works with chamber or small ensemble (twenty-four or fewer members, not including the conductor). One Award to the ensemble and one Award to the conductor, if applicable.
79. Best Classical Instrumental Solo
Award to the Instrumental Soloist(s) and to the Conductor when applicable.
80. Best Classical Solo Vocal Album
Award to: Vocalist(s), Collaborative Artist(s) (Ex: pianists, conductors, chamber groups) Producer(s), Recording Engineers/Mixers with 51% or more playing time of new material.
81. Best Classical Compendium
Award to the Artist(s) and to the Album Producer(s) and Engineer(s) of over 51% playing time of the album, if other than the artist.
82. Best Contemporary Classical Composition
A Composer's Award. (For a contemporary classical composition composed within the last 25 years, and released for the first time during the Eligibility Year.) Award to the librettist, if applicable.
83. Best Music Video
Award to the artist, video director, and video producer.
84. Best Music Film
For concert/performance films or music documentaries. Award to the artist, video director, and video producer.
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The nominees for the 2020 Grammy Awards are being announced today. Who will pick up nominations for Album of the Year, Record of the Year, Song of the Year, and Best New Artist? Stay tuned here for more information. The Grammys take place on January 26 at the Staples Center in Los Angeles. They’ll be hosted by Alicia Keys and will air live on CBS.
At last year’s Grammys, Kacey Musgraves won Album of the Year, Childish Gambino won both Song and Record of the Year, and Dua Lipa won Best New Artist. Cardi B, St. Vincent, Beck, Ariana Grande, and Drake were also among last year’s winners.
Read Pitchfork’s review of the 2019 Grammys.
Follow all of Pitchfork’s coverage of this year’s Grammy Awards.
Bon Iver - i,i
Lana Del Rey - Norman Fucking Rockwell!
Billie Eilish - When We All Fall Asleep Where Do We Go
H.E.R. - I Used to Know Her
Lil Nas X - 7
Lizzo - Cuz I Love You
Vampire Weekend - Father of the Bride
Bon Iver - Hey Ma
Billie Eilish - Bad Guy
Ariana Grande - 7 rings
H.E.R. - Hard Place
Khalid - Talk
Lil Nas X - Old Town Road
Lizzo - Truth Hurts
Post Malone - Sunflower
Lady Gaga - Always Remember Us This Way
Billie Eilish - Bad Guy
Brandi Carlile - Bring My Flowers Now
H.E.R. - Hard Place
Taylor Swift - Lover
Lana Del Rey - Norman Fucking Rockwell
Lewis Capaldi - Someone You Love
Lizzo - Truth Hurts
Black Pumas
Billie Eilish
Lil Nas X
Lizzo
Maggie Rogers
Rosalía
Tank and the Bangas
Yola
Best Pop Solo Performance
Beyoncé - Spirit
Billie Eilish - Bad Guy
Ariana Grande - 7 rings
Lizzo - Truth Hurts
Taylor Swift - You Need to Calm Down
Best Pop Duo/Group Performance
Ariana Grande & the Social House - Boyfriend
The Jonas Brothers - Sucker
Lil Nas X - Old Town Road [ft. Billy Ray Cyrus]
Post Malone - Sunflower [ft. Swae Lee]
Shawn Mendes & Camila Cabello - Señorita
Best Pop Vocal Album
Beyoncé - The Lion King: The Gift
Billie Eilish - When We All Fall Asleep, Where Do We Go?
Ariana Grande - thank u, next
Ed Sheeran - No.6 Collaborations Project
Taylor Swift - Lover
Best Traditional Pop Vocal Album
Andrea Bocelli - Sì
Michael Bublé - Love (Deluxe Edition)
Elvis Costello & The Imposters - Look Now
John Legend - A Legendary Christmas
Barbra Streisand - Walls
Best Rap Album
Dreamville - Revenge of the Dreamers III
Meek Mill - Championships
21 Savage - I Am > I Was
Tyler, the Creator - IGOR
YBN Cordae - The Lost Boy
Best R&B Performance
Daniel Caesar - Love Again [ft. Brandy]
H.E.R. - Couldn’t Been Her [ft. Bryson Tiller]
Lizzo - Exactly How I Feel [ft. Gucci Mane]
Lucky Daye - Roll Some Mo
Anderson .Paak - Come Home [ft. Andre 3000]

In the streaming age, "boilerplate" contract provisions may be outdated for artists who want to reclaim their older songs: "I see broader blanket prohibitions coming."
Here's a prediction: A few years from now, Taylor Swift's Nov. 24 performance at the American Music Awards will be largely forgotten. But the discussion about this performance will reverberate for far longer than most observers expect.
The debate started with a Nov. 14 tweet from Swift, who called out Scooter Braun and Scott Borchetta for allegedly restricting her from performing old songs at the ABC event honoring her as Artist of the Decade. According to Swift, the two men only would permit her to perform "Shake It Off" and other early hits if she agreed not to later rerecord copycat versions, as she's been threatening since Braun in June acquired rights to her Big Machine recordings. Big Machine denied such a move. It's conceivable each side was telling a version of the truth.
While most have focused on whether Braun and Borchetta truly have the ability to block Swift's performance, the thornier and somewhat unresolved legal issue pertains to distribution of Swift's recorded performances.
Consider this prospect: Swift sings at the AMAs, and producer Dick Clark Productions subsequently releases both a live album of the event and an archived stream. Swift then tells her 85 million Twitter followers to please listen and watch these live versions of "Shake It Off" rather than the original one that contributes money to Braun's wallet. Since Swift owns the copyright to the composition (Big Machine owns the masters), she'd financially benefit from doing this.
Braun and Borchetta may have seen Swift's AMA performance as a backdoor route toward rerecording hits and taken the position that any distribution of Swift's recorded appearance flouted Swift's contract.
Several lawyers consulted by THR say this read of the dispute makes sense. It's also supported by a statement put out by Big Machine on Nov. 18 noting its agreement with Dick Clark Productions with respect to post-show streams and rebroadcasts. "Recording artists do not need label approval for live performances on television or any other live media," read the statement. "Record label approval is only needed for contracted artists' audio and visual recordings and in determining how those works are distributed." (Dick Clark Productions is a division of Valence Media, the parent company of THR.)
If the Swift/Big Machine controversy was the result of fear over how her performance would be commercially exploited in the distribution market, this points to a developing issue for the future relationship between artists and record labels that will not simply end with the AMAs. It's one that is born of technological shifts as much as egos.
Traditionally, a record deal limited an artist's ability to rerecord for a finite amount of time. Five years was customary. That way, an artist wouldn't immediately author copycat versions of songs to recover a greater share of royalties. In reality, even if an artist wished to rerecord, he or she needed hefty distribution and marketing backing for it to make economic sense. As such, few in the industry gave much thought to the rerecording provisions of the record deal. Music attorney James Sammataro says the rerecording restriction until now largely has been "boilerplate." Time to shake it off?
Nowadays, online platforms like Spotify and YouTube make it much easier for artists — especially established ones — to deliver to audiences. Stars like Swift can exploit social media to achieve effective promotion as well. In other words, the ability to create market substitutes may appear more threatening to record labels. In the old days, many of these labels would have gladly accepted a TV appearance from an artist as good promotion for old recordings. Not anymore necessarily: "I see broader blanket prohibitions coming," says Sammataro.
From the artist standpoint, the influx of private equity into the music business raises the temperature as well. In her initial tweet, Swift may have hit an industry nerve by pointing to how the Carlyle Group financed Braun's acquisition of Big Machine. With big Wall Street money comes big expectations. The potential of third parties complicating the relationship between artist and record label is very real.
The situation between Swift and Braun may be somewhat unique, but no artist wants to lose control over his or her ability to perform older hits. Once a record deal ends, artists would prefer to assert more authority, not less. "People are learning from this," says attorney Mark Jaffe. "This could become the impetus for making these contracts more clear."
This story first appeared in the Nov. 20 issue of The Hollywood Reporter magazine. To receive the magazine, click here to subscribe.
Exclusive
TMZ/Getty CompositeTaylor Swift may be locked and loaded to go after Scooter Braun Sunday at the AMAs, but we've learned she'll be talking to an empty chair because Scooter will be thousands of miles away.
Sources with direct knowledge tell TMZ ... Scooter's not scared of what Taylor might do ... fact is, he never planned on showing up for the show. He'll be in Tampa, Florida supporting one of his artists who's performing there ... in case you're not familiar, her name is Ariana Grande.
As we first told you ... Scooter's getting death threats from loyal Taylor fans in the wake of their idol claiming Scooter and other Big Machine honchos were holding her first 6 albums hostage.
Our sources say Taylor -- who's getting an award for Artist of the Decade -- plans to weave her anger toward Scooter and Big Machine into her acceptance speech, but there won't be awkward cutaways of Scooter, and that kind of deflates the balloon.
And, there's more intrigue ... Ariana and Taylor are both nominated for Artist of the Year and Favorite Female Artist Pop/Rock at the AMAs. It'll be interesting if Ariana wins since she's squarely in Scooter's corner.
The speeches could be super entertaining.
Beauty company Coty is breaking out — in a good way.
The stock added more than 2% to begin the week after the beauty brand took a majority stake in Kylie Jenner's cosmetics company in a deal worth $600 million. Those gains add to a major gain for shares, climbing more than 80% so far this year.
Matt Maley, equity strategist at Miller Tabak, says the stock could be a risky bet with a worthy reward.
"This is a stock that until this year had been getting clobbered," Maley said on CNBC's "Trading Nation" on Monday. "It was down for four straight years, down well over 60%, and the rally has only just recently broken above that multiyear trend line. If it can take it a little bit further and break above $13.60, that will follow that upward break of the trend line with a very nice higher high and will confirm that its long-term trend has broken to the upside."

"A little bit more risk but more reward because whenever you buy any stock in the early stages of a change in trend, it always gives you a little more upside potential," Maley said.
The Coty-Kylie Jenner deal could be the beginning of a new trend for consumer-facing stocks, says John Petrides, portfolio manager at Tocqueville Asset Management.
"Here's a company that's willing to pay for the eyeballs and the followers that Kylie Jenner has more so than anything else. So, this could be a new paradigm for the consumer staples, packaged goods industry which, you know, has been suffering because of weak mall traffic and the rise of e-commerce because shelf space has basically become infinite," Petrides said during the same segment.
Coty acquired a 51% ownership position in Jenner's beauty and cosmetics portfolio, a deal announced at the beginning of the week. Jenner still has a partnership with Ulta Beauty to sell her products in its stores. That relationship began last November and led to several quarters of revenue growth for Ulta.
"I would expect more acquisitions like this going forward because it could be the new model for companies to acquire top-line growth by partnering up with key influencers," Petrides said.

“Can I give it to James, please?” Brooke wept to host Tom Bergeron. His co-host, Erin Andrews, was also in tears.
“No, no,” Bergeron said gently, trying to comfort her. “That’s lovely of you to say that.” Brooke ran over to Van Der Beek and urged him to take her place. “Please, please,” she cried.
Van Der Beek smiled and shook his head. “You’re going to go crush it,” he told her. As the credits rolled, Brooke’s professional partner, Sasha Farber, and the rest of the cast surrounded them for a group hug. Brooke will compete for the Mirror Ball Trophy in next Monday’s season finale against singer Lauren Alaina, actor Kel Mitchell and “The Bachelorette” star Hannah Brown.
As emotions were already running high, the controversial decision to save Brooke prompted an angry outcry from fans on social media. The hashtag #DWTS was a top Twitter worldwide trending topic for hours. Many were extremely upset that Brooke was still in the running, both because they felt Van Der Beek was a better dancer — and the judges already saved her from elimination twice this season.
And although Brooke has been a favorite of the judges, edging out Van Der Beek and Brown for the highest overall average score, Van Der Beek still remained the front-runner. Last week, oddsmakers declared the “Dawson’s Creek” star as the safe choice to win; prediction website GoldDerby also had him as No. 1. But as the comments raged, others pointed to Brooke’s kind gesture at the end of the show.
Later, Brooke told “Entertainment Tonight” that although she has had “the time of my life” in the competition, she truly felt Van Der Beek deserved to go to the finale. “I don’t believe it’s fair that he was sent home, so I just wanted to give my spot to him,” she said. “He’s been through so much, and he’s overcome so many things. Especially this past week, I just felt it was right to give it to him. Obviously, he didn’t accept it. I talked to him and he was proud of me. He told me, ‘Don’t be afraid to shine.’ ”
At first, Monday seemed like just a regular episode, as each couple performed two dances. But when the judges offered criticism about Van Der Beek and partner Emma Slater’s cha-cha, Bergeron broke in. “I want to just allude to something. I know you’ll talk to Erin about it later, but this has been a tough week for you,” he said. “That could have been a complicating factor here.”
Right before they started their second dance, Van Der Beek — who told viewers in October that he and his wife were expecting their sixth child — elaborated in a prerecorded statement. “My wife Kimberly and I went through every expectant parent’s worst nightmare. We lost the baby,” he said, and started to cry. “The little soul that we had expected to welcome into our family took a shortcut to whatever lies beyond. You never know why these things happen. It’s what I’ve been telling my kids. All you know is that it brings you closer together. It breaks you open. It opens up your heart. Deepens your appreciation. Makes you more human.”
“I really didn’t think I would be dancing tonight,” Van Der Beek continued. “But Kimberly from her hospital bed said to me, ‘I’m not done watching you dance.’ … Kimberly, I’m dancing for you. I’m dancing for us.”
After he and Slater completed their fox trot, they both broke down weeping on the dance floor. Judges Carrie Ann Inaba, Len Goodman and Bruno Tonioli were also shaken. “James, when tragedy strikes, it puts everything into perspective. And this is just a dance show,” Goodman said. “For you to come out and dance with so much feeling and emotion, I admire you so much. Well done.”
Van Der Beek’s young daughter started crying in the audience; when the actor noticed this, he walked over to pick her up and carry her to the stage where he waited for the judges’ scores. Andrews held up the microphone to Van Der Beek, who was still cradling his sobbing child. “I feel like scores are absolutely pointless at this point, but we’ll get them for you,” said Andrews, who was almost too choked up to speak.
The deeply emotional scene, however, led to the upsetting final moments. Bergeron announced that Brooke (who landed a perfect 30 and almost-perfect 29 for her two performances, with the judges declaring her dancing “magical”) was in the bottom two against Van Der Beek. Due to new rules this season, viewer votes and judges’ scores determine the bottom two, and then Inaba, Goodman and Tonioli decide whom to send home.
Inaba was first. “This is not easy. First of all, this is not at all what I expected to see here. You both are amazing. Both couples are fantastic,” she said, and paused for a long time. “The couple I want to save, and I’m so sorry, is Ally and Sasha. I’m so sorry, James."
Tonioli sadly concurred. “It’s incredibly hard. You’re all winners. You’ve all given fantastic performances,” he said. “This is very hard. We have to make a decision based on the season. And for that reason alone, I have to say Ally and Sasha.” (Goodman only votes in a tie, and he said he would have chosen Brooke.)
Social media immediately lit up with anger. Earlier in the episode, before she performed a complicated Charleston routine that earned her 30 points, Brooke — who said she previously faced bullying as the “worst” dancer in her former girl group Fifth Harmony — expressed doubt that she would remain on the show if she was in the bottom two once more.
“If I’m in the bottom two again, I don’t think they’re going to save me. So the pressure is on. There’s no room for error,” she said. “This dance has to prove why I deserve to be in the finale.”
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