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Ariana Grande wants “everyone to experience” Cloud Pink, her new fragrance launching exclusively at Ulta Beauty on Sunday (Aug. 13). Grande shared a commercial for the perfume on her social media accounts on Sunday to coincide with the online release.

Cloud Pink, a “sister scent” to the original Cloud fragrance, is currently available online at Ultabeauty.com. The fragrance drops in Ulta stores on Aug. 20.

In the promo video, shot by Zoey Grossman, Grande looks carefree in a light pink tutu and cropped crochet sweater, followed by a purple number and a pink tool dress.

The “7 Rings” singer worked with French perfumer Clement Gavarry to create Cloud Pink, which features a blend of rich berries, pink pineapple, dragon fruit, vanilla orchid, blush ambrette, musk and sweetened praline.

“I can’t begin to describe how excited I am to launch Cloud Pink,” Grande said in a news release announcing the fragrance on Aug. 10. “Cloud is a fragrance that will always be so close to my heart, and I thank my fans for showing it so much overwhelming love all of these years. Developing a new fragrance under this fan favorite franchise was daunting at first, but I really do think that we’ve created the perfect sister scent to the original Cloud. It’s snuck into my top favorite, as of late. I’ve been wearing it nonstop these past few months. Working with Clement and the team on this new pillar was a labor of love and has been such an exciting secret to keep!!! I couldn’t wait for the announcement, and I cannot wait for everyone to experience Cloud Pink.”

In addition to Cloud, Cloud 2.0 and Cloud Pink, Grande has released a string of other scents including Thank U, Next, God is a Woman, Mod Blush and Mod Vanilla.   

Purchase Cloud Pink below.

Lil Durk has a message for the fans who stole his merchandise following a false active shooter report at his Chicago show on Saturday (Aug. 12).

The 30-year-old drill rapper took to his Instagram Story on Sunday morning (Aug. 13) to call out concertgoers in his hometown who were caught on video looting merch amid the chaos at the United Center.

“Don’t believe the hype we bigger then big thank you Chicago,” Durk wrote. “Till next time and who all stole the merchandise tag me so I can repost y’all crazy a–.”

The “All My Life” rapper was nearing the end of his concert Saturday evening when the Chicago Police Department received reports of an active shooter, TMZ reports. Fan-captured clips from the event show petrified audience members frantically running for safety within the venue. Other videos showed fans snatching merchandise items before making their exit.

Authorities showed up to the United Centers in search of an active shooter, but Chicago PD said it ended up being a false alarm, according to TMZ. No injuries or arrests were made.

Durk is touring in support of his eighth studio album, Almost Healed, which debuted at No. 3 on the Billboard 200 in June. The rapper was recently hospitalized for severe dehydration, forcing him to cancel several tour dates, including a performance at Rolling Loud Miami in late July.

Billy Porter is once again taking aim at Harry Styles‘ appearance on the cover of Vogue in 2020.

In an interview with The Telegraph, published Friday (Aug. 11), the 53-year-old Pose star rehashes his negative feelings about Styles becoming Vogue‘s first male cover star. He also slams the magazine’s longtime editor Anna Wintour, who interviewed him shortly before Styles’ cover hit newsstands.

“That b—- said to me at the end, ‘How can we do better?’ And I was so taken off guard that I didn’t say what I should have said,” Porter tells The Telegraph, adding that he should’ve told her, “Use your power as Vogue to uplift the voices of the leaders of this de-gendering of fashion movement … Six months later, Harry Styles is the first man on the cover.”

The December 2020 issue of Vogue features a cover photo of the British pop star wearing a Gucci dress. In the story, he discusses his gender-bending fashion and drawing inspiration from the likes of David Bowie, Prince and Elton John.

In his Telegraph interview, Porter explains that he doesn’t have a problem specifically with the former One Direction member.

“It’s not Harry Styles’ fault that he happens to be white and cute and straight and fit into the infrastructure that way,” the Tony-and Grammy-winner explains. “I call out the gatekeepers.”

He adds, “[Styles is] white and he’s straight. That’s why he’s on the cover. Non-binary blah blah blah blah. No. It doesn’t feel good to me. You’re using my community — or your people are using my community — to elevate you. You haven’t had to sacrifice anything.”

This isn’t Porter’s first time airing his frustrations with Styles’ Vogue cover. In an October 2021 interview with The Sunday Times, the Kinky Boots star called out the “Watermelon Sugar” singer’s Vogue shoot, saying it was a snub to pioneers like himself who worked to make androgynous and genderfluid fashion more mainstream.

“I’m not dragging Harry Styles, but he is the one you’re going to try and use to represent this new conversation? He doesn’t care, he’s just doing it because it’s the thing to do,” Porter said at the time. “This is politics for me. This is my life. I had to fight my entire life to get to the place where I could wear a dress to the Oscars and not be gunned down. All he has to do is be white and straight.”

Porter later clarified his comments during an appearance on The Late Show With Stephen Colbert.

“Apparently I’m famous now, and it was a slow news day, so the first thing I want to say is, ‘Harry Styles, I apologize to you for having your name in my mouth,’” he told Colbert in November 2021. “It’s not about you. The conversation is not about you… the conversation is actually deeper than that. It is about the oppression and the erasure of people of color who contribute to the culture. That’s a lot to unpack. I’m willing to unpack it sans the dragging and culture of the Internet because I do not now, nor will I ever, adjudicate my life or humanity in sound bites on social media. So when you’re ready to have the real conversation, call a b—-!”

Two days after Robbie Robertson’s death at age 80 following a long illness, his friend and collaborator Bob Dylan is speaking out.

“This is shocking news,” Dylan said in a statement provided to Billboard. “Robbie was a lifelong friend. His passing leaves a vacancy in the world.”

The two legends share a long history. Robertson, whom Dylan famously called a “mathematical guitar genius,” played guitar with Dylan starting in the mid-1960s, after Dylan became aware of Levon and the Hawks, an early iteration of what became The Band. As Dylan notoriously switched from acoustic to electric, their reception was hardly positive. As Robertson recalled to Mojo in 2017, “When The Hawks hooked up with Dylan, he found this explosive, dynamic thing. Because of his intensity, it raised everything up and we didn’t come down enough and people were saying this music is so loud we can’t hear the words. Part of that was he wanted that raging spirit on these songs. We got booed all over North America, Australia, Europe, and people were saying this isn’t working and we kept on and Bob didn’t budge.”

The Hawks backed Dylan for several months, with their efforts captured on 1998’s The Bootleg Series, Vol. 4: Bob Dylan Live 1966: The ‘Royal Albert Hall’ Concert.

Their relationship was exploratory and revelatory, especially in the early days. “The obvious thing we learned – that everybody learned – was there was a new way of songwriting. There was a much more colorful, descriptive, humorous, outrageous thrill ride of wordplay,” Robertson told Mojo. “We hadn’t seen this before – this was breaking some big rules. I remember saying to Bob one time, ‘Maybe there’s too many verses in this’ [Laughs], and he said, ‘There probably are, but that’s what I was thinking about when I wrote it.’ His spirit was on fire, and he was knocking down the boundaries that had been built up around music. It excited me to be part of this revolution.”

Robertson also played on Dylan’s legendary 1966 album Blonde on Blonde. Dylan and The Band famously recorded in 1967 at Big Pink, the house several members of The Band rented in West Saugerties, New York. The complete recordings from those sessions were released in the voluminous 2014 set The Bootleg Series Vol. 11: The Basement Tapes Complete.

Robertson and Dylan continued to collaborate for decades, including The Band covering Dylan’s “When I Paint My Masterpiece” on 1971’s Cahoots album and touring together in 1974, as well as recording Dylan’s No. 1 studio album Planet Waves together.

For the very successful 1974 tour, the audience finally realized Dylan and The Band were right all those years ago, Robertson told Mojo: “We do a tour, the [1974] Dylan/Band tour, we play the same way [as we did in 1966], same intensity and everybody says, ‘Wow, that was amazing.’ The world came around – we didn’t change a note.”

Dylan also was one of a number of legendary musicians joining The Band for The Last Waltz concert, taped on Thanksgiving Day, 1976. The show concludes with Dylan’s “We Shall Be Released.”