Sexyy Red is about to be a beauty mogul: The 26-year-old rapper introduced her Northside Princess beauty brand on Monday (Aug. 19).

“BO$$ LADY SPEAKIN …. New and improved @sexyyred_products is back better den eva !! introducing NORTHSIDE PRINCESS the brand @getnorthside,” she wrote on Instagram. The first product from her Northside Princess line is lip gloss called Sexyy Gloss, which comes in eight different shades: Coochie Juice, Bootyhole Brown, Nut, P*ssyhole Pink. Yellow Discharge, Gonorrhea, Blue Ballz and Sex On My Period.

The Bootyhole Brown Sexyy Gloss is a play on her notorious “My coochie pink, my bootyhole brown” line from her and Tay Keith‘s 2023 smash “Pound Town.” Nicki Minaj hopped on “Pound Town 2,” which earned Sexyy Red and Tay Keith their first Billboard Hot 100 entries and hit the top 20 of both R&B/Hip-Hop Airplay and Rhythmic Airplay.

Sexyy mentioned her lip gloss brand and teased some of the names to Complex over a year ago. “The names for my lip gloss is something that nobody would’ve ever thought of. I got one called ‘Nut,’ and it’s the color of some nut. I got one called ‘Gonorrhea,’ it’s green like gonorrhea. I got one called ‘Yellow Discharge,’ like how girls be having yellow discharge…. And ‘Coochie Juice’ is clear with silver glitter. It’s cute. The sh– cute, and it smell good,” she said at the time. “I be thinking all out the box sh–. It’s not even on purpose, it’s just my brain help me think outside the box to do some crazy a– sh–.”

The Democratic National Convention takes over Chicago’s United Center starting on Monday night (Aug. 19), and Mickey Guyton and James Taylor have joined the opening day performer lineup, according to The Hollywood Reporter.

Guyton and Taylor will join previously confirmed performer Jason Isbell, who is set to deliver a rendition of his 2015 hit, “Something More Than Free,” the title track off his Grammy-winning fifth studio album. The DNC’s first night’s theme is “For the People.”

Kerry Washington, Mindy Kaling, Tony Goldwyn and Ana Navarro are this year’s DNC hosts, each scheduled to deliver opening remarks and make appearances throughout the week. Additional performers are to be announced.

Vice President Kamala Harris‘ presidential nomination will be celebrated this week in Chicago during the Democratic National Convention. Harris has also chosen Minnesota governor Tim Walz to run alongside her as her selected VP. Harris was swapped in for President Joe Biden last month and since then, surveys have shown that while Trump was previously winning in several key battleground states, the polls are now shifting slightly in Harris’ favor, per New York Times/Siena College.

Biden is also scheduled to speak on the opening night of the DNC, which begins at 9 p.m. ET. First Lady Dr. Jill Biden, Ashley Biden, Hillary Clinton, Alexandra Ocasio-Cortez, Chicago Mayor Brandon Johnson, New York Governor Kathy Hochul, U.S. Senator Raphael G. Warnock and more are also set to make remarks.

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 the late Maurice Williams, who died on Aug. 5 at age 86, by looking at his lone No. 1, the doo-wop classic “Stay,” which he recorded as the frontman of Maurice Williams & the Zodiacs.

Maurice Williams & the Zodiacs meet the most common definition of one-hit wonders, as they had just one top 40 hit on the Billboard Hot 100 – but, boy, what a hit. Their doo-wop classic “Stay” reached No. 1 in November 1960, sandwiched between two other top-tier classics, Ray Charles’ “Georgia on My Mind” and Elvis Presley’s “Are You Lonesome To-night?.”

Over backing chants of “Stay!” by his fellow group members, Williams carries much of the song and its plea to a girl to stay out longer than she is supposed to. Her Daddy and Mommy won’t mind, Williams argues, not entirely convincingly. Midway, he steps back and hands the lead to Henry Gaston for one of pop music’s most unforgettable falsetto shouts — “Oh, won’t you stay, just a little bit longer!”

Williams wrote the song in 1953 when he was just 15. The song was inspired by his crush on one Mary Shropshire. “[Mary] was the one I was trying to get to stay a little longer,” Williams told the North Carolina publication Our State in 2012. “Of course, she couldn’t.” (The more restrictive mores of the 1940s and 1950s inspired such other great pop songs as the Oscar-winning “Baby, It’s Cold Outside” and The Everly Brothers’ “Wake Up Little Susie.”)

“It took me about 30 minutes to write ‘Stay,’ then I threw it away,” Williams told ClassicsBands.com. “We were looking for songs to record as Maurice Williams & The Zodiacs. I was over at my girlfriend’s house playing the tape of songs I had written, when her little sister said, ‘Please do the song with the high voice in it.’ I knew she meant ‘Stay.’ She was about 12 years old and I said to myself, ‘She’s the age of record buying,’ and the rest is history. I thank God for her.”

The Zodiacs’ producer, Phil Gernhard, took the demo, along with some others, to New York City and played them for all the label reps that he knew. Al Silver of Herald Records was interested, but insisted that the song be re-recorded as the recording levels were too low. He also said that one line, “Let’s have another smoke,” would have to be removed for the song to be played on commercial radio.

The track runs just 1:38. It is the shortest of the 1,174 singles that have reached No. 1 on the Hot 100. You could play the song in its entirety six times in the time it would take to play the longest-running No. 1 hit, Taylor Swift’s “All Too Well (Taylor’s Version)” (which runs 10:13, per the dominant version the week the song topped the Hot 100 in 2021) just once. But despite its historic brevity, the record never feels that short. It’s simply exactly as long as it needed to be to tell its story. It’s to the group’s and Gernhard’s credit that they didn’t pad it just to make it longer.

The song entered the Hot 100 at No. 86 on Oct. 3, 1960 – though in a gaffe, Williams was credited as a solo artist. The billing was changed to Maurice Williams and the Zodiacs in Week 2, when the record vaulted to No. 40. The record hit the top 10 on Nov. 7 (when another great R&B record, The Drifters’ “Save the Last Dance for Me,” was No. 1). Two weeks later, it reached No. 1.

“Stay” was only the third No. 1 in Hot 100 history (which commenced in August 1958) that was both written and recorded by a Black artist. It followed Lloyd Price’s “Stagger Lee” (which he co-wrote with Harold Logan) and Dave “Baby” Cortez’s instrumental smash “The Happy Organ” (which he co-wrote with Ken Wood).

Williams and the Zodiacs’ recording of “Stay” was the first major hit for producer Gernhard, who returned to the top five on the Hot 100 in the ’60s and ’70s as the producer of The Royal Guardmen’s novelty hit “Snoopy vs. the Red Baron,” Dion’s poignant “Abraham, Martin and John,” Lobo’s “Me and You and a Dog Named Boo” and “I’d Love You to Want Me,” Jim Stafford’s “Spiders and Snakes” and The Bellamy Brothers’ “Let Your Love Flow,” the latter, Gernhard’s second No. 1 on the Hot 100.

Williams and the Zodiacs had two more Hot 100 hits in 1961, but both were minor – “I Remember” (No. 86) and “Come Along” (No. 83). The group had broken through near the tail-end of doo-wop’s peak. Few doo-wop artists outside of the 4 Seasons, which had doo-wop roots, had extensive pop careers as Motown and, starting in 1964, the British invasion took over. A 1965 Williams song, “May I,” seemed promising, but the group’s label, Vee-Jay, went bankrupt just as the song was coming out. “May I” would become a top 40 hit in March 1969 for a white pop group, Bill Deal & the Rhondels.

Williams had had that same frustrating experience, on a much bigger scale, in 1957, when his group The Gladiolas released the original version of “Little Darlin’” (which Williams also wrote). The Gladiolas’ version reached No. 11 on R&B Best-Sellers in Stores and No. 41 on the Billboard Top 100, a forerunner to the Hot 100. But as was common in that era, a cover version by a white group, The Diamonds, became the bigger hit. The Diamonds’ version logged eight weeks at No. 2 on Best Sellers in Stores, and appeared in the 1973 film American Graffiti – a nostalgic film which was perfectly timed as the Watergate scandal broke wide open. American Graffiti received an Oscar nod for best picture and was inducted into the National Film Registry in 1995. The double-disk soundtrack album, a first-rate oldies collection, reached the top 10 on the Billboard 200 in February 1974.

“Stay” was memorably featured in two films – American Hot Wax, a 1978 film about legendary DJ Alan Freed, and the 1987 blockbuster Dirty Dancing, another nostalgic film that provided relief from the woes of that era, including Iran/Contra and AIDS. “Stay” was featured on the Dirty Dancing soundtrack, which topped the Billboard 200 for 18 nonconsecutive weeks.

Many artists have recorded successful cover versions of “Stay.”  In November 1963, the song was released by The Hollies, whose bright, effervescent version shifted the focus from doo-wop to rock’n’roll. Their version reached No. 8 on the Official UK Singles Chart, becoming their first of 18 top 10 hits in their home country.

Two cover versions have reached the top 20 on the Hot 100 – one by the 4 Seasons in April 1964 (with Frankie Valli taking on Gaston’s falsetto part) and another by Jackson Browne in August 1978 (with David Lindley handling the falsetto vocals). Browne cleverly recast the song from a romantic plea to a performers’ plea to the audience to let them play a little longer. Instead of saying Mommy and Daddy won’t mind, he argues that the promoter, union and roadies won’t mind (again, not entirely convincingly!).  Browne’s version directly followed his own song “The Load-Out” on his hit album Running on Empty, a No. 3 album on the Billboard 200 and a Grammy nominee for album of the year. That two-song coupling, which also featured vocalist Rosemary Butler, was recorded live at the Merriweather Post Pavilion in Columbia, Maryland.

There have been many other notable cover versions of the song. The Dave Clark Five recorded the song for their studio album Glad All Over, which reached No. 3 on the Billboard 200 in May 1964. Andrew Gold recorded a version of “Stay” for his 1976 album What’s Wrong with This Picture?, which also spawned his only top 10 hit on the Hot 100, “Lonely Boy.” Bruce Springsteen & The E Street Band teamed with Browne, Butler and Tom Petty to record the song at the No Nukes concert at Madison Square Garden in September 1979. The recording appeared on a triple-disc album which made the top 20 on the Billboard 200 in January 1980.

Maurice Williams didn’t have enough hits to receive major honors. He’s not in the Songwriters Hall of Fame (despite writing two colossal hits). He and the Zodiacs haven’t even been nominated for the Rock and Roll Hall of Fame. But the placement of “Little Darlin’” and “Stay” in such iconic films as American Graffiti and Dirty Dancing helps ensure that those songs will live on forever.

And Williams’ place in the Hot 100 record books seems secure: Even with hit songs getting shorter and shorter in the TikTok era, no one has yet passed Williams for his 98 seconds of pop perfection.

Jelly Roll‘s music and relatable persona have made him a favorite of fans and celebrities alike. The four-time Billboard Country Airplay chart-topping artist recently played a show at the Stephen Talkhouse in Amagansett, N.Y., and the show not only aired on SiriusXM’s The Highway, but according to People and Variety, it had a star-studded list of attendees that included Jimmy Fallon, John McEnroe, Kelly Bensimon and Jon Hamm.

Jelly Roll’s set included songs such as “Halfway to Hell,” “Wild Ones,” “Son of a Sinner” and “Son of the Dirty South,” which he originally recorded with Brantley Gilbert. At one point, the Antioch, Tennessee native told the audience, “I make real music for real people with real problems,” adding, “I believe music can heal people.”

In addition to his own tunes, the country star offered covers of Eminem’s “Lose Yourself,” Green Day’s “Good Riddance” and Otis Redding’s “(Sittin’ On) the Dock of the Bay.”

The co-hosts of the SmartLess podcast — Will Arnett, Jason Bateman and Sean Hayes — introduced Jelly Roll.

Arnett said, “Tonight’s performer is an incredible performer. He is a husband, he is a father, he is a philanthropist, he is a Grmamy-nominated artist, he is a CMA Award winner.”

Hayes added, “He’s performed in front of sold-out crowds, setting records at music festivals across the country. We are so excited to have him tonight. He’s about to kick off his tour, The Beautifully Broken Tour, [and is] releasing a new album very soon.”

Jelly Roll’s The Beautifully Broken Tour launches Aug. 27 in Salt Lake City, Utah. Listen to his Hamptons set on SiriusXM’s website.

There probably aren’t too many celebrities left on Snoop Dogg’s bucket list, but he checked a major one off earlier this year when he met Paul McCartney for the first time.

Fresh off performing at the Olympics’ Closing Ceremony, Snoop Dogg and Dr. Dre recently sat down with Complex, and The Doggfather reflected on having the chance to link up with The Beatles legend, where the respect was mutual.

“I did a little concert for somebody in Hollywood. Paul McCartney was there. I never met him before, but I’m a f–king fan of The Beatles,” he began. “I know Jimmy [Iovine] know him, I know Dre know him. I’m in the back smoking and they’re like, ‘Sir Paul would like to meet you.’ I’m like, ‘Oh for real? Hold on.’

Snoop continued, noting he didn’t know McCartney is also a cannabis connoisseur. “I put the blunt out, cuz walk in the room like, ‘Don’t put that down!’ He give me a hug and he meet me and I’m like, ‘F–k, Paul McCartney know who the f–k Snoop Dogg is!’” recalled the rapper. “This is Paul McCartney, he knows who I am. That’s the experience I love is when the people you respect, respect you.”

“F–k yeah,” he exclaimed when asked about potentially working with Paul. “In a heartbeat, ‘Ebony & Ivory,’ ‘The Girl Is Mine.’ What do you want to do? Like a motherf—-r?”

A photo of Snoop and Paul emerged in April from the Jimmy Buffett Tribute concert, which appears to be the event that the West Coast icon is referencing.

After once passing on the opportunity to collaborate with Stevie Wonder, Dr. Dre is open to locking in with the music icon. “You know what? It’s crazy because I bumped into Stevie Wonder a couple times,” Dre said. “He called me. He pulled up on me in the restaurant, ‘I heard you been talking about me?!’ … He’s one of my heroes and I would absolutely go in there with him … I always taught maybe you shouldn’t meet your heroes.”

While Dre hasn’t been in the studio with Stevie, Snoop reminded him he did co-produce a record for Busta Rhymes titled “Through the Storm,” which featured vocals from Wonder on 2006’s The Big Bang. “[It’s] probably gonna happen. I have to have that experience,” Dre concluded of working with Wonder down the line.

Snoop Dogg chimed in, recalling a hilarious time when he was in the studio with Wonder and Pharrell, and he got Skateboard P so high that he just left him in the studio with Stevie. “I’m like, ‘What you want me to do?’ I ain’t no producer,” Snoop said.

Snoop and Dr. Dre are gearing up to deliver their first full-length collaborative project since 1993’s Doggystyle with Missionary, which they’re promising to release before Santa Claus comes down chimneys across the globe.

Watch the full interview below.