Coi Leray and Trippie Redd are officially parents. Coi revealed that she welcomed a baby girl named Miyoco on Tuesday (June 17) with a post featuring a glimpse of her new child on her Instagram Story.

The adorable photo finds her baby daughter’s hand wrapped around her mom’s finger while wearing a pink Polo Ralph Lauren onesie and showing off her full head of dark hair.

She also took to X to give her early thoughts on breastfeeding, which she said “ain’t no joke.” Coi attached a GIF of Leonardo DiCaprio saying, “It hurts.”

Coi Leray went public with the news she was expecting a bundle of joy in January. The 28-year-old then followed up in April, revealing she was gearing up to be a “girl mom.” Her baby girl received plenty of love at a May Hello Kitty-themed baby shower.

The “Players” rapper and Trippie Redd initially began dating in 2019 before breaking up a year later. The couple later rekindled their romance in 2024, but unfortunately, split once again this spring.

“I keep God first, always — I have so many things to be happy about. I’m about to be a new mom, about to have a little girl,” she told The Shade Room in May. “So she gives me a whole different type of new motivation.”

Leray continued: “I have to be strong. And I have to understand that there’s going to be a lot of things that happen in life, but at the end of the day, I have someone now that I have to raise that’s going to look up to me, and I want to be able to set an example that’s one.”

On the music front, Coi released her What Happened to Forever EP in February.

Dolly Parton has won 10 Grammys and a Primetime Emmy, among countless other awards. Soon, she’ll have an Oscar statuette to add to her collection.

On Nov. 16, the country music legend is slated to receive the Jean Hersholt Humanitarian Award at the Oscars’ annual Governors Awards. Parton will join a short list of music stars who have received this award, including Frank Sinatra (1970), Quincy Jones (1994), Harry Belafonte (2014) and Debbie Reynolds (2015).

The Academy of Motion Picture Arts and Sciences’ board of governors also voted to present Honorary Awards to Debbie Allen, Tom Cruise and Wynn Thomas. These four Oscar statuettes will be presented at the Academy’s 16th Governors Awards event on Sunday, Nov. 16 at the Ray Dolby Ballroom at Ovation Hollywood.

“This year’s Governors Awards will celebrate four legendary individuals whose extraordinary careers and commitment to our filmmaking community continue to leave a lasting impact,” Academy president Janet Yang said in a statement. “The Academy’s board of governors is honored to recognize these brilliant artists.”

The Jean Hersholt Humanitarian Award is given “to an individual in the motion picture arts and sciences whose humanitarian efforts have brought credit to the industry by promoting human welfare and contributing to rectifying inequities.”

The award recognizes Parton for her decades-long humanitarian efforts. She has founded various charitable and philanthropic organizations, including the Dollywood Foundation, which was created in 1988 to inspire the children of East Tennessee — her home state — to achieve educational success. Additionally, her literacy program, Dolly Parton’s Imagination Library, launched in 1995 in honor of her father and has provided children with 285 million books. It evolved into an international movement and remains the signature program of the Dollywood Foundation.

Parton has starred in such films as Nine to Five and Steel Magnolias. She has earned two Oscar nominations in the best original song category for “Nine to Five” – which was a No. 1 hit on the Billboard Hot 100 – and “Travelin’ Thru” from Transamerica.

Cruise has received four Oscar nominations: best actor for Born on the Fourth of July (1989) and Jerry Maguire (1996), best supporting actor for Magnolia (1999) and best picture as a producer of Top Gun: Maverick (2022). His other notable film credits include Risky Business, A Few Good Men, Interview with the Vampire, Eyes Wide Shut, Vanilla Sky and the Mission: Impossible film series.

An Academy statement credited Cruise with “help(ing) to usher the industry through a challenging time during the COVID-19 pandemic.” It also praised him for “showcasing a deep commitment to his craft – including performing all of his own stunts.”

Allen is being recognized for her work over nearly five decades as a choreographer, actor, and producer. She choreographed the Oscar ceremony seven times, as well as films including Forget Paris, A Jazzman’s Blues and The Six Triple Eight. Her producing credits include Amistad and A Star for Rose. Allen made her mark as an actress with Fame, Ragtime and Jo Jo Dancer, Your Life is Calling.

Production designer Thomas began his career working on Spike Lee’s She’s Gotta Have It, which was the first of several collaborations between the two. Others include Do the Right Thing, Malcolm X and Da 5 Bloods. Lee received an Honorary Oscar in 2015. Other notable credits from Thomas’ career include the best picture-winning A Beautiful Mind, as well as Cinderella Man and Hidden Figures.

SZA might be co-headlining one of the biggest tours of the year, but she says she still struggled with imposter syndrome leading up to its kickoff.

While answering guest interviewer Chappell Roan’s questions for an Interview Magazine cover story published Tuesday (June 17), the R&B hitmaker revealed that she used to be plagued by anxious thoughts when it came to performing. “Every time I had to go on stage, every time I had to get on a carpet, I’d have full-on panic attacks,” she began.

“I used to not show up to something because it was like, ‘I’m never going to win. No one cares that I’m here. Why would I go?’” she continued.

SZA struggled with that anxiety as recently as right before the Grand National stadium tour kicked off in April, with the singer telling Roan that she was convinced people would only attend to see her powerhouse tourmate, Kendrick Lamar. “Same thing with the Kendrick tour,” she said. “‘Everybody’s going to see Kendrick. I don’t even know if I have anything to show these people that’s exciting and new.’”

Fast forward a few months, and both SZA and Dot have been crushing their performances across the United States in Canada. In July, the “Luther” collaborators will bring the trek to arenas and stadiums all over Europe, closing the trek with two Australian shows in August.

Fortunately, SZA shared that she’s since been able to kick her anxious thoughts to the curb through connecting with her spirituality, whether it’s consulting her astrologer or learning about the “laws of magic.”

“Now it’s just like, ‘F–k it. I don’t have anything else to do, and I want to see where this door is going to lead,’” she said of her approach to performing now. “I want to walk through the door. I want to see what happens in the uncertainty.”

The interview comes about two months into the Grand National Tour, which launched April 19 with a show in Minneapolis. SZA and Lamar most recently stopped in Hershey, Pa., for one night at Hersheypark Stadium.

Some of the most memorable moments of the trek so far have been its special guests, with Playboi Carti, Baby Keem, Justin Bieber and Doja Cat all making appearances at various stops. In May, SZA was joined on stage by longtime bestie Lizzo, and the pair performed their remix of the latter’s “Special.”

Also in the Interview piece, SZA opened up about her friendship with the Yitty founder. “We’ve been friends since, like, 2013, but it was very organic and very random,” she explained to Roan. “One day we were on the same tour, and I was like, ‘We’re about to drive out to Lake Michigan, do you want to come?’ And she was like, ‘Yeah, let’s go.’ And then we just got drunk and hung out, and we kept doing that, and then our lives and careers progressed, and we kept talking and hanging out.”

Forever No. 1 is a Billboard series that pays special tribute to the recently deceased artists who achieved the highest honor our charts have to offer — a Billboard Hot 100 No. 1 single — by taking an extended look back at the chart-topping songs that made them part of this exclusive club. Here, we honor Brian Wilson, who died on Wednesday (June 11) at age 82, by looking at the second of The Beach Boys’ three Hot 100-toppers: “Help Me, Rhonda,” the final classic of the Beach Boys’ earliest golden age.

What a difference an “h” makes. When “Help Me, Ronda” was originally featured on The Beach Boys Today! in early 1965, the band didn’t think too much of the shuffling love song with the repetitive hook; you can tell by how little care they took to normalize the volume levels, which inexplicably jump around in the song’s last two choruses. But leader Brian Wilson believed in the song’s potential, and after the band re-recorded it or single release (and for inclusion on the band’s second 1965 album, Summer Days (And Summer Nights!!)) as “Help Me, Rhonda,” it became the latest in a stunning streak of smashes for the family-and-friends quintet from Southern California.

In fact, by early 1965, The Beach Boys was one of the only American bands still holding its own against the pop-rock raiders from overseas. The British Invasion was in full swing, and The Beatles alone had topped the Hot 100 six times in 1964. In between No. 1s four and five for the Fab Four that year came the Boys’ eternal teen anthem “I Get Around” and the group had two additional top 10 hits by the end of ’64: the wistful “When I Grow Up (To Be a Man)” (No. 9) and the the ebullient “Dance, Dance, Dance” (No. 8). Both of those were included on The Beach Boys Today! at the top of 1965, and the set also spawned a third single in a cover of Bobby Freeman’s “Do You Wanna Dance?,” which just missed the top 10 (No. 12) that April.

As the Beach Boys were still enjoying their run of fun-and-sun early hits, Brian Wilson was beginning to stretch out both as a songwriter and a producer. “I Get Around” was backed by “Don’t Worry Baby,” Wilson’s first real attempt to outdo his idol Phil Spector, with impossibly dreamy production and harmonies and a gorgeous rising verse melody that somehow elevated into an even-higher-flying chorus. The flip-side to “Dance, Dance, Dance” was “Please Let Me Wonder,” another Spectorian love song with strikingly fragile verses and a near choir-like refrain. And perhaps most notably, Today! included the lovely but disquieting “She Knows Me Too Well,” Wilson’s first real lyrical examination of his own romantic insecurities and failings. All of these would ultimately point the way to the artistic leap forward the band would take on 1966’s Pet Sounds, the band’s intensely personal and overwhelmingly lush masterwork which disappointed commercially, but made them critics’ darlings for the first time.

But they weren’t there yet. In mid-’65, they were still fighting to maintain their place in an increasingly crowded pop-rock landscape — and, not having reached the Hot 100’s top five since “I Get Around” nearly a full year earlier, they needed a no-doubter to lead off Summer Days. So Brian Wilson dug back in on the song he’d relegated to deep-cut status on the album before. “Ronda” was much more in line with the group’s earlier, simpler hits than the more lyrically and musically complex fare Wilson was starting to explore, but he was right that the song had real potential: It was a clever number that basically managed to be both a breakup ballad and an upbeat love song at once, with a chorus so relentless that you could hear it once and remember it for the rest of your life. It just needed a little extra maintenance.

In truth, Brian did a lot more on the re-recording of “Help Me, Ronda” than add an “h” to her name and keep his finger steadier on the volume controls. He also clipped the intro, so it began right with its “Well, since she put me down…” intro, dropping you right into the middle of the song’s narrative. He tightened the tempo a little, and added some “bow-bow-bow-bow” backing vocals to tie together the “help-help me, Rhonda” pleas of the chorus. He added some extra piano and guitar to give the song’s instrumental bridge a little extra zip. And perhaps most importantly, he laid an extra falsetto backing “Help me, Rhonda, yeah!” on top of the chorus climax to make it stand out a little better from the rest of the refrain. They’re all small additions, but you don’t realize how much difference they make until you go back to the Today! original and wonder why the whole thing sounds so empty and lifeless by comparison.

But while Brian Wilson allowed the song to soar, “Rhonda” was anchored by a less-celebrated Beach Boy: Al Jardine. A high school friend of Brian’s, Jardine had mostly served as a glue guy in the band to that point and had never sung lead on one of their songs, much less a single A-side. But Brian was intent on giving his buddy a spotlight moment, and decided Jardine would take the reins for “Rhonda.” It was a good match: While the Wilsons’ voices drifted towards the ethereal and sentimental, and Mike Love’s had a more muscular, occasionally snide edge to it, Al Jardine’s voice had both a sturdiness and an unassuming everyman quality to it. He was the Beach Boy best equipped to sell a relatable song like “Rhonda.”

And while “Rhonda” was a less musically and lyrically ambitious song than others Wilson was attempting contemporaneously, there is still a bit of trickiness to it. It’s a lyric that mourns a romantic split with one girl while attempting to simultaneously ask a new girl to ease his pain — and the vocal matches the shift; Jardine’s singing is frenzied and pained and in the first half of his verses and smooth and composed in the second. From a less likable or compelling vocalist, the whole thing could’ve very easily come off like a cheap come-on, like he doesn’t actually give a damn about either girl. But Jardine manages to sound sincere, like he actually is going through it and is genuinely in need of the help that only the titular female can provide. When he begs on the chorus for Rhonda to “get ‘er outta my heart!” — after a couple dozen shorter pleas from the rest of the Boys — you really hope she succeeds in doing so.

With its new arrangement and new title, “Rhonda” did indeed prove the no-doubter that the Beach Boys were hoping for to re-establish their pop supremacy in ’65. The song debuted on the Hot 100 on April 17 at No. 80, and seven weeks later, it replaced — who else — The Beatles’ “Ticket to Ride” to become the band’s second No. 1 hit, lasting two weeks on top before being replaced by the other dominant American pop group of the era: The Supremes, with “Back in My Arms Again.” The Beatles would, of course, be heard from again just a few months later with a “Help!” No. 1 of their own — and in between them in June, the Four Tops reigned with “I Can’t Help Myself (Sugar Pie, Honey Bunch).” (Draw your own conclusions about a generational cry for additional assistance amidst the turmoil of the mid-’60s if you so desire.)

“Help Me, Rhonda” would mark something of the end of an era for The Beach Boys and Brian Wilson, as it was their last major pop hit before the group started rapidly scaling up its ambitions. Even “California Girls,” the group’s universally accessible No. 3-peaking follow-up to “Rhonda” — which, wouldn’t you know it, got stuck behind The Beatles’ “Help!” on the Hot 100 — came affixed with a cinematic instrumental intro and a vocal outro in-the-round that no other pop group of the time would have dared attempt. By 1966, the group was pushing pop music into the future at a rate that would ultimately prove uncomfortable for both the public and for the Beach Boys themselves — though it would culminate in one more all-time classic pop single before it all fell apart.

And “Help Me, Rhonda” stands alone in all of pop history in at least one respect: It remains the lone Billboard Hot 100 representation for all Rhondas worldwide. No other song (or artist) with that name — outside of a No. 22-peaking Johnny Rivers cover of the song in 1975, featuring Brian on backing vocals — has ever reached the chart since its 1958 introduction. (No “Ronda”s either.)

Tomorrow, we look at the final of the Beach Boys’ three Brian Wilson-led No. 1s: the forever singular “Good Vibrations.”

Bunnie XO just had a breakthrough on her fertility journey with Jelly Roll.

In a raw video posted to her Instagram on Monday (June 16), the podcaster tears up while hiding her face in her hands as she talks inaudibly on the phone, seemingly having just received a piece of good news. “When you just got the call you’ve been waiting on for 5 months since this ivf journey started,” she wrote.

“All the tears, the hopelessness & the struggle, God finally said, ‘Here,’” Bunnie continued, adding in her caption: “Praise Jesus.”

The social media star and country singer have been trying to conceive through IVF for months. In the comments of her post, Bunnie clarified that she’s not pregnant yet — “We won’t announce that,” she asserted — but they are one big step closer to growing their family.

“This is just a huge win for us,” Bunnie noted.

The Dumb Blonde host has been open about her experience with IVF, documenting the ups and downs on social media. In March, she got real on her podcast about how “lonely” the process can be, sharing, “It’s just you and these hormones and the waiting and the egg retrieval … It’s a lot to bear.”

Bunnie also recently clapped back at a troll who implied that she is too old to be trying for a baby. The same commenter also wrote that Jelly Roll — who has been open about his weight-loss journey over the past year — is “so unhealthy looking.”

“Yes, I have decided at the ripe age of 45 that I would love to hear the pitter-patter of little feet with the man that I’ve been with for almost a decade,” said Bunnie, who is a stepmom to Jelly’s two kids from past relationships, 17-year-old Bailee Ann and 7-year-old Noah.

“Not only am I financially in a great place to raise a child, but I’m also spiritually and mentally in a great place because I have been in the darkest places before and I drug myself out from the depths of hell,” she added at the time in a video on her Instagram Story. “Did you know that I was pregnant three times before we decided to do this IVF? I am so thankful that God did not let me have a baby when I was 20 years old because that poor child would have been through so much s–t with me. This is the perfect age.”

See Bunnie’s post about her IVF win below.