When Beyoncé was not among the artists nominated for a CMA Award on Monday (Sept. 9), despite being the first Black woman to top Billboard’s Top Country Albums with Cowboy Carter and Hot Country Songs chart with “Texas Hold ‘Em,” it immediately raised questions about country music’s ongoing troubled relationship with Black artists, the CMA Awards’ nominating process and whether or not Beyoncé’s team had even submitted her music, given her complicated history with the country community and the CMA Awards.

Let’s answer the last question first: It turns out they didn’t need to submit. 

Unlike many other awards shows, labels, artists and their teams do not submit entries for the CMA Awards. Instead, the roughly 6,600 voting members each receive a write-in ballot to list their choices. Each member can make one nomination per award category. Therefore, Beyoncé’s label or team did not need to submit her to be eligible. The exception is the single of the year category, which is a pre-populated drop-down list of all qualifying top 10 singles from the country charts noted in the criteria. The write-in ballots are tabulated and the top 20 vote recipients in each category end up on the second ballot, with the exception of entertainer of the year, which consists of the Top 15 vote recipients.

Additionally, all second-ballot candidates are reviewed by CMA, record label representatives, and the CMA Awards & Recognition committee to ensure that all they meet the criteria for each award. The award criteria is based on release dates, chart activity, and consumption peaks that occurred during the eligibility period (July 1, 2023-June 30, 2024). The second ballot is sent to the CMA voters, and each member can vote for up to 5 candidates in each category. CMA does not reveal the write-in ballot nominations or confirm whether any specific artist or work appeared on the second ballot.

Though Billboard has not yet viewed a full second-round ballot, Billboard viewed a screen shot for the second ballot for song of the year that does not include “Texas Hold ‘Em.” 

Beyoncé’s exclusion “doesn’t surprise me,” says one Nashville executive, who wished to remain anonymous. “There was really only one single from the album that did anything. She really didn’t embrace the genre, unlike what Post Malone has done with his album.” “Texas Hold ‘Em” peaked at No. 33 on Billboard’s Country Airplay chart.

Post Malone received four nominations for “I Had Some Help,” his duet with Morgan Wallen, that was a four-week No. 1 on Billboard‘s Country Airplay chart and is featured on his Top 200 and Top Country Albums chart-topping album, F-1 Trillion. Post Malone infiltrated the local music scene, spending months in Nashville working with top songwriters, recording the album in Nashville and popping up at many venues to play live.

However, another Nashville executive, who also asked to remain anonymous, said they were “shocked” that Beyoncé’s work received no nominations, “given the credit to new Black creators and Linda Martell.” Cowboy Carter, in addition to Dolly Parton and Willie Nelson, featured Martell, the first Black woman to play the Grand Ole Opry in 1969, and a number of rising Black artists, including Brittney Spencer, Tanner Adell, Reyna Reynolds, Tiera Kennedy, Willie Jones and Shaboozey. 

Shaboozey, who received two nominations for new artist of the year and single of the year for “A Bar Song (Tipsy),” took to Instagram and X to express his thanks for being nominated, but also thanked Beyoncé, posting “Thank you @Beyonce for opening a door for us, starting a conversation, and giving us one of the most innovative country albums of all time!”

Country artist Rissi Palmer, who also hosts Apple Music’s “Color Me Country” radio show, said what many others expressed on social media when she posted on X, “Well… these noms set a really interesting precedent. The message is extremely loud.” She later posted, “I think that a larger conversation should be had about the fact that no other Black woman or woman of color could even qualify for certain CMA awards, and why that is.” The single of the year category is the only category that requires reaching a certain chart position in order to be eligible. Earlier this year, the CMA Awards eliminated the requirement for song of the year.

In June, three months after the March 29 release of Cowboy Carter, Beyoncé provided a lengthy statement to The Hollywood Reporter about the project and its reception. “When you are breaking down barriers, not everyone is ready and open for a shift. But when I see Shaboozey tearing the charts up and all the beautiful female country singers flying to new heights, inspiring the world, that is exactly what motivates me,” she said. ““I’m honored to introduce so many people to the roots of so many genres. I’m so thrilled that my fans trusted me. The music industry gatekeepers are not happy about the idea of bending genres, especially coming from a Black artist and definitely not a woman.”

In 2016, Beyoncé’s performance of “Daddy Issues” at the CMA Awards with The Chicks (then still the Dixie Chicks), a number of commenters on social media supported the appearance, while others made unwelcoming comments.

In March, shortly before Cowboy Carter’s release, Beyoncé posted on Instagram that the album was “born out of an experience that I had years ago where I did not feel welcomed… and it was very clear that I wasn’t,” she said, although she did not specifically cite the CMA Awards appearance. “But, because of that experience, I did a deeper dive into the history of Country music and studied our rich musical archive.”

Beyoncé’s representative did not respond to a request for comment and the CMA declined to comment.

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JoJo has picked up her pen again, but instead of crafting hit pop breakup anthems such as “Leave (Get Out),” the 33-year-old is trying her hand at authorship. Her new memoir, titled Over the Influence, is set to release on Sept. 17 and joins the expanding lineup of musician memoirs that includes Britney Spears and Barbra Streisand.

While JoJo’s memoir isn’t out yet, you can preorder the book online for up to 10% off through Amazon, Target and Bookshop.org. This will ensure you get a copy of the “Too Little, Too Late” singer’s memoir by the release date — and, for Prime members, you’ll be able to take advantage of free shipping for extra savings. (New users can score a 30-day free trial here.)

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JoJo is providing fans with “unflinching vulnerability” in her upcoming memoir that will provide insight into what happened to the Aquamarine actress during the period she suddenly left the spotlight. You’ll hear straight from the artist, who was signed to a record label at just 12-years-old and catapulted to fame through her cool-girl relatability. Out of the spotlight, she was navigating growing up with parents with addiction and depression, in addition to a lawsuit with her record label.

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There are a few editions to choose from, such as a hardcover for the collectors who want to display JoJo’s memoir on their coffee table, or get it digitally on the Kindle for 50% off. Audiobooks fans can have the Audible version automatically downloaded into your library (new subscribers can score a free 30-day trial here), where you’ll be able to listen to the memoir narrated by JoJo.

After initially announcing her first-ever memoir, the Billboard Hot 100 charting artist gave fans a behind-the-scenes look of her recording the audiobook in an Instagram post on Monday (Sept. 9).

“grumblin and rumblin while recording the audiobook for #OvertheInfluence,” the caption read.

For more product recommendations, check out ShopBillboard‘s roundups of the best country music books, books about jazz and music books.

Following the recent announcement that DJ revenue sharing platform Aslice is closing, Richie Hawtin has shared his thoughts on the news.

In a 10-minute statement posted to YouTube and social media, the pioneering techno producer expressed his disappointment that many big-name DJs did not participate in Aslice, a donation-based platform launched by DJ Zak Khutoretsky in 2022 that allowed DJs to voluntarily share their set playlists and contribute part of their performance fee to the artists whose music they played.

“The closing of Aslice is a huge disappointment,” Hawtin says. “Perhaps the biggest disappointment that I felt in our community, our scene since I’ve been part of it.”

Last week, the company announced it was closing and released a lengthy report that cited reasons including industry skepticism (“despite outreach to over 2,000 professional DJs, many remained hesitant,” the report says), difficulties the platform faced in gaining widespread adoption, the company’s difficulty in achieving financial sustainability, mixed engagement among DJs, and limited adoption by the leading and most well-played DJs.

The report notes that “only 4.7% (56) of the top 1,199 DJs on Resident Advisor [with more than five upcoming performances] participated in Aslice.”

Hawtin has a sharp critique for these non-participating DJs, writing in his Instagram caption that “Aslice was working, and the only problem was that not enough DJs, especially the successful ones, agreed to sign up and share back into the music eco-system that they have built their careers on. Aslice did not fail, the famous, most followed DJ’s of our scene failed us all.”

With its closing announcement, the Aslice team said that since launching, they’ve paid out $422,696 to musicians with money from DJs who participated in the platform. They add that all participating artists with remaining balances will be paid out by the end of 2024.

Hawtin shared that since 2021, he has personally paid out €88,950 (roughly $116,268) to the producers whose music he played during his sets, at the expense of what averaged out to be roughly $800 per gig.

Noting that he wasn’t an investor in Aslice, Hawtin explained that it “was a platform that was built to rebalance the economic inequalities that are a big part of our scene. The economic inequalities between how much a DJ or musician and a producer gets paid for the music they make and the money that goes into the pocket of us DJs when we perform playing other people’s music.”

Hawtin said that while most bands perform their own music and earn commensurate royalties, “in our own beautiful scene where we have the largest paid performers playing other people’s music, that system doesn’t work. And it’s only gotten worse as we moved into digital distribution and streaming.”

He added that he’s seen many talented producers stop making music because they couldn’t support themselves and their families by doing it, even though their music might have been getting played by famous DJs in their sets. He says the platform was “a way to recognize the musicians and support the actual foundation of our whole scene. Without music, there’s no DJs.”

Hear Hawtin’s complete statement below.

The Aslice report notes that the platform was an especially vital tool in the electronic music world, given that PROs’ “failure to support the electronic music scene is evident in several key areas,” including, the report says, their technological stagnation, a lack of proactive outreach and community building, complex registration processes, an inability to track unreleased music, outdated distribution models, low accuracy rates, and a lack of retroactive payments for producers who weren’t registered when their music was played.

With the first quarter of the 21st century coming to a close, Billboard is spending the next few months counting down our staff picks for the 25 greatest pop stars of the last 25 years. We’ve already named our Honorable Mentions and our No. 25, No. 24, No. 23, No. 22, No. 21 and No. 20 stars, and now we remember the century in BTS — the septet that took K-pop to new global heights, and set the standard for high-level hitmaking and fan devotion over the past decade of pop music.

When you think of what it takes for a group to become pop stars, imagine having seven individual talents who can each do it all well: sing, rap, dance, and amass a love and fandom that even some of the biggest pop stars could only dream of. That’s what you have with BTS, who crashed through every door of what it takes to be a successful pop act and expanded that with a scope never quite seen before. The group has broken through ceilings for boy bands, K-pop and South Korean artists in general, all while creating a meaningful community that is continually inspired by BTS’ message of positivity, love and connection. 

The global senesations have amassed Beatles-sized success and have become the new blueprint for everything pop: When it comes to maintaining fan hysteria and consistent hitmaking, they are it. In the U.S. alone, the K-pop septet has notched six Billboard Hot 100 No. 1 hits and six Billboard 200 No. 1 albums. And as solo artists over the past few years, they’ve all individually created their own lane, and grabbed historic accolades of their own along the way. 

It all started in 2013, when BTS (short for the Korean phrase Bangtan Sonyeondan, which translates to “Bulletproof Boy Scouts”) was created by Big Hit Entertainment. The group, comprised of RM, Jin, Suga, J-Hope, Jimin, V and Jung Kook, released the debut EP 2 Cool 4 Skool in June 2013. 

In Korea, BTS was not instantly welcomed. In the band’s biography Beyond the Story, the members speak on the highly competitive genre, and being shunned by peers in the industry, and even by some fans of K-pop. But through the style of vlogging, BTS was able to great a more unique relationship with their fans. Want to hang out and cook along with BTS? You could. That was something that was far from the extremely polished K-pop norms. 

Though BTS was not the first K-pop group to find huge success at home and abroad — and won’t be the last — throughout the group’s journey to global superstardom, there were numerous things that made it special. 

The massive fan group ARMY (Adorable Representative M.C. for Youth) has been with the septet every step of the way. In the 2021 hit “Butter,” the group’s leader RM confidently says, “got ARMY right behind us when we say so.” BTS has over 75 million followers on Instagram and over 48 million followers on X (formerly Twitter). It has grown the group past what people normally see in boy band fandoms: ARMY boosts a diverse community of all ages, races, religions and beyond. 

One of the top qualities that makes BTS stand out as pop stars is the members’ ability to bend and blend genres. This is largely due to the group being comprised of different members cast in different roles — K-pop groups will often split different members into a rap line, vocal line, and dance line — giving everybody the ability to shine. They all have their own styles and voices, yet they all blend well together. This individual uniqueness has even led fans to celebrate their “bias” as they connect with their favorite member of the OT7 (One True 7). 

Being trained in the K-pop methodology prepared all seven to be strong in all areas of performance. To get to know them as great singers, take note of V’s chilling vocals on “Spring Day,” Jimin’s sweet sensuality on “Serendipity,” Jin’s flawless belting on “Let Go,” or Jung Kook’s effortless falsetto on “Euphoria”. The group’s earliest music was also heavily influenced by hip-hop — and members Suga, RM, and J-Hope’s inspiration from the American hip-hop scene and the underground culture in Korea heavily shaped BTS’ sound. By 2018, Nicki Minaj was even joining the group for an iconic verse on the Love Yourself: Answer single “IDOL”. 

Of course, you can’t be a great pop star without top-notch visuals. From music videos to merchandise, everything BTS is produced to the highest quality. Take for example their song “ON”: The music video alone is a spectacle of massive dance numbers and sprawling sets. The group took that same performance to The Tonight Show in Grand Central Station and inside a stadium for the 2020 MAMA Awards. Everything BTS does is BIG. (And yes, all the BTS members are good looking: Jin is famously nicknamed by their fans as Worldwide Handsome.) 

The group’s dance ability is also next-level. Choreography isn’t new to boy bands, as pop groups from the Jackson 5 to *NSYNC made it a key performance element. But look no further than BTS’ performance of “Black Swan” at the 2020 Melon Music Awards and you know what we are seeing is different here: Often members show off not just hip-hop dance skills, but aerial, ballet, and interpretive dancing. A quick dive into fan edits online and you will surely find several videos comparing the members to Michael Jackson and other greats. 

It was these performances, and a new lean into a more pop-friendly sound, that really introduced them to a mainstream American audience in the late ‘10s. They brought “Fake Love” to the Billboard Music Awards in 2018, one of their first major US awards show performances, with huge (and clearly audible) ARMY support in the crowd. “Boy With Luv” featuring Halsey, released the next year off Map of the Soul: Persona, was another catchy banger and became one of their biggest hits at the time, reaching the Hot 100’s top 10. They performed that track at the BBMAs in 2019, also receiving a rapturous reception. 

Though there was no denying BTS’ massive success as the septet sold out stadiums across the world by 2019, there really was no preparation for what happened with “Dynamite” in 2020. The group’s first single released in all English can only be described as pop perfection. From the sticky-sweet lyrics to the colorfully choreographed music video, the song catapulted the already massively popular group to new levels of crossover American success. The song became BTS’ first No. 1 on the Billboard Hot 100 — and the first song ever by an all-South Korean musical act to reach that spot, with only Psy’s “Gangnam Style” (No. 2) getting close previously.  

BTS followed that up with even more chart-toppers, several while linking up with English-language pop acts– lending an assist to Jason Derulo for “Savage Love” and getting recruited by Coldplay for “My Universe,” which became another No. 1 for both groups. BTS even had a No. 1 co-written by Ed Sheeran – with a personal favorite, “Permission to Dance.” Which isn’t to say the septet actually needed help from any other hitmakers, though  – as “Butter,” the delectable 10-week No. 1 that stands as the group’s longest-reigning Hot 100-topper to date, clearly demonstrated in summer 2021.  

Songs like “Dynamite,” “Butter” and “My Universe” have been able to secure BTS five Grammy nominations. They were also invited to the stage at both the 2021 and 2022 Grammys, with highly anticipated performances that brought the awards some of their buzziest and best-received moments. 

The seven members have continued that success as solo artists while BTS has paused most group activity as its members participate in their mandatory South Korean military service. (Jin was the first member to enlist, doing so in Dec. 2022, and this June, also became the first to be discharged.) In 2022 J-Hope became the first South Korean artist to headline the main stage at a major U.S. music festival when he headlined Lollapalooza. In 2023 Suga took his solo show worldwide as he completed the Agust D Tour in support of his debut studio album D-Day. Jimin made history with the release of his first solo album, FACE, as the single “Like Crazy” became the first song by a Korean solo artist to top the Billboard Hot 100. Jung Kook performed at the World Cup and notched his own Hot 100 No. 1, with “Seven” featuring Latto. V, Jin and RM have also all released successful solo music. 

Meanwhile, even as they’ve become global pop crossover stars, the BTS members have continued to stay true to their hip-hop roots – as seen as recently as RM’s new feature on Megan Thee Stallion’s “Never Play” this September. He’s also worked with Erykah Badu, Wale and Anderson .Paak, while in 2023, J-Hope teamed up with a rap icon in J. Cole for the single “On the Street.” 

No K-pop group — or group in general — has been able to accomplish what Bangtan has this century. From creating a global community to expanding K-pop well outside of its genre and delivering seven successful pop star solo acts, BTS truly paved the way. 

Read more about the Greatest Pop Stars of the 21st Century here — and be sure to check back on Thursday when our No. 18 artist is revealed!

All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.

With just a few months until the holiday shopping season heats up, Apple is going full throttle with a slew of new gadgets. The tech giant debuted iPhone 16, Apple Watch Series 10, AirPods 4, AirPods 2 earbuds with hearing-aid capabilities, five new colors of the AirPod Max and more during Monday’s (Sept. 9) Apple Event.

Apple’s AirPods 4 ($129) feature upgraded acoustic technology, an H2 interactive chip, Personalized Spatial Audio with dynamic head tracking and the ability to answer Siri by “gently” shaking your head. The battery on AirPods 4 lasts up to 30 hours and Apple promises that the new earbuds are comfortable for various ear shapes.

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“With AirPods 4, customers can enjoy Active Noise Cancellation and the most advanced audio experience ever in an open-ear design,” said John Ternus, Apple’s senior vice president of hardware engineering. “And with a revolutionary update to the world’s bestselling headphones, AirPods Pro will deliver groundbreaking new capabilities — including Hearing Test and Hearing Aid features — to help more than a billion people affected by hearing loss.”

AirPods 4 with Active Noise Cancellation ($179) feature Transparency mode and Adaptive Audio which “dynamically blends Transparency mode and ANC based on the conditions of a user’s environment,” according to a news release. Conversation Awareness lowers the volume on your AirPods when you start speaking to someone closeby.

The AirPods 4 case is 10 percent smaller than its predecessor and it has a USB charging cable. Besides the cable, you can charge AirPods 4 with ANC on an Apple Watch charger or Qi-certified charger.

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AirPods 4, AirPods 4 ANC and AirPods Max are up for pre-order at Amazon and Apple.com and will be released on Friday, Sept. 20.

Apple’s new hearing health features will be available for AirPods Pro 2 starting this fall.