
Remembering Jet Magazine's Top 20 Singles Chart & Its Impact On Exposing Black Music
Source: Scott Olson / Getty
Jet Magazine, a cultural mainstay in the African American community, has long been celebrated for capturing the pulse of Black America. Among its many features, the 'Top 20 Singles of the Week' chart became an essential barometer of musical success, offering a unique lens into the evolving soundtracks of Black culture. From its inception to its lasting legacy, this chart mirrored the rhythms, struggles, and victories of a community and left an indelible mark on the music industry. Origins of the Chart
Jet Magazine was launched by John H. Johnson in 1951 as a companion to his first publication, Ebony . While Ebony focused on photo spreads of Black excellence, Jet served as a weekly digest of news, culture, and entertainment. Recognizing the centrality of music to Black life and identity, Jet introduced the 'Top 20 Singles of the Week' chart in the 1950s. Its mission was to spotlight the songs that resonated within the community, distinct from mainstream pop charts that often neglected Black artists.
Authenticity defined the Jet chart. Its rankings weren't just about radio airplay or sales but about what truly mattered to its audience. It celebrated not just hits but cultural touchstones, elevating R&B, soul, gospel, and later hip-hop as they rose to prominence. Cultural Significance
Before the digital age allowed instant access to music, Jet's Top 20 chart was a lifeline for fans eager to stay connected to the latest sounds. Its influence stemmed from its role as both a tastemaker and a time capsule. Each week, the chart reflected the collective mood, aspirations, and energy of Black America. It affirmed identities and uplifted artists who were often overlooked or underestimated by mainstream music platforms.
More than just a list of songs, the chart captured key moments in Black history. During the Civil Rights Movement, tracks like Sam Cooke's 'A Change Is Gonna Come' resonated deeply and rose through the rankings, embodying the quest for equality. Later, in the 1980s and 1990s, hip-hop's ascendancy was chronicled in real-time through artists like Run-D.M.C., LL Cool J, and Tupac Shakur, as their anthems became staples of the chart. Reflections of Change
Over the decades, the chart told the story of music's evolution and, by extension, shifting cultural landscapes. Early charts were dominated by soul and rhythm & blues, celebrating pioneers like James Brown, Aretha Franklin, and Marvin Gaye. These artists laid the foundation for the genre's crossover success while maintaining their roots in Black culture.
By the late 1970s and early 1980s, disco fever hit the chart, with artists like Donna Summer and the Jacksons delivering infectious dance tracks that united people on the floors of nightclubs. The 1990s brought a wave of hip-hop and neo-soul, with artists like Lauryn Hill and Maxwell bridging the gap between old school and new school influences. Each entry on the chart bore witness to the community's changing tastes and values. Impact on the Music Industry
Jet's chart was more than a reflection of its audience's preferences; it was a tool for shaping the music industry's recognition of Black talent. Record labels paid attention to Jet's rankings, treating the chart as an indicator of what would succeed commercially. For many Black artists, landing on Jet's Top 20 signified both representation and validation, a milestone that reflected their connection with the audience that mattered most.
The chart also played a vital role in breaking boundaries. It challenged mainstream industry norms by shining a light on independent and emerging artists, sometimes serving as a stepping stone to broader success. When traditional institutions overlooked genres like rap or downplayed the rise of regional music scenes, Jet tipped its hat early, amplifying a diversity of voices. Key Milestones
The chart's long history encompasses numerous defining moments: The emergence of Motown classics in the 1960s, with chart toppers like The Supremes and Marvin Gaye setting new standards for crossover appeal.
The rise of funk and disco in the 1970s, led by groundbreaking acts like Parliament-Funkadelic and Earth, Wind & Fire.
The explosion of hip-hop in the 1980s and 1990s, reflecting the growing dominance of the genre as a voice for a new generation.
The recognition of female R&B stars in the 2000s, with artists like Beyoncé and Alicia Keys dominating the rankings and ushering in an era of empowered Black women in music. A Legacy of Influence
Jet Magazine's 'Top 20 Singles of the Week' chart ended its run when the publication ceased print production in 2014, transitioning to a digital-only format. However, its legacy endures. It stands as both a reminder of the power of music to connect people and an archive of Black America's evolving tastes and triumphs. From soul-stirring ballads to defiant rap lyrics, the chart encapsulated the heartbeat of a culture.
While Jet's print days have ended, its soundtrack remains timeless. The 'Top 20 Singles of the Week' chart wasn't just a list of hits; it was, and still is, a symbol of joy, resilience, and artistry in the African American experience. Want to know what was on Jet's Top 20 Singles around this time 35 years ago? Scroll down to find out! (Featuring Jet's Top 20 Singles the week of June 11, 1990)
Remembering Jet Magazine's Top 20 Singles Chart & Its Impact On Exposing Black Music was originally published on majicatl.com
Black America Web Featured Video
CLOSE
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles

4 hours ago
Key moments from the sixth week of Sean 'Diddy' Combs' sex trafficking trial
NEW YORK -- The sixth week of the Sean 'Diddy' Combs' sex trafficking trial was shortened by a holiday and a juror's illness as prosecutors nearly concluded their case, setting the stage for a one- or two-day defense presentation next week. In the trial's first five weeks, jurors repeatedly heard testimony about drug-fueled marathon sex events described as 'freak-offs' by one of Combs' ex-girlfriends and as 'hotel nights' by another. In the sixth week, they were shown about 20 minutes of video recordings from the dayslong events. Combs, the founder of Bad Boy Entertainment, has pleaded not guilty to sex trafficking and racketeering conspiracy charges in the trial, which continues Monday. Here are key moments from the past week: Jurors largely kept their reactions muted when they were shown about 20 minutes of recordings made by Combs of his then-girlfriends having sex with male sex workers at the elaborately staged 'freak-offs' or 'hotel nights.' Prosecutors say the events were proof of sex trafficking and racketeering conspiracy charges because Combs coerced his employees, associates and even his girlfriends to recruit and arrange flights for sex workers while his workers obtained drugs, stocked hotel rooms with baby oil, lubricant, condoms, candles and liquor and delivered cash. In her opening statement, defense lawyer Teny Geragos had called the videos 'powerful evidence that the sexual conduct in this case was consensual and not based on coercion.' Prosecutors played about 2 minutes of the recordings before the defense team aired about 18 minutes of the videos. The public and the press were unable to observe whether the prosecutors or defense lawyers had the better arguments after the judge ruled that neither the recordings nor the sound could be seen or heard by anyone except lawyers, the judge and the jury. Several jurors seemed to cast their eyes and sometimes turn their bodies away from the screens directly in front of them while the recordings played. The jurors listened through earphones supplied by the court, as did Combs and lawyers. Judge Arun Subramanian started the week by dismissing a juror whose conflicting answers about whether he lived in New Jersey or New York convinced the judge he was a threat to the integrity of the trial. Subramanian said the juror's answers during jury selection and in the week before he was excused 'raised serious concerns as to the juror's candor and whether he shaded answers to get on and stay on the jury.' 'The inconsistencies — where the juror has lived and with whom — go to straightforward issues as to which there should not have been any doubts, and the answers also go to something vital: the basic qualifications of a juror to serve,' the judge said. Residents of New Jersey would not be permitted to sit on a New York federal jury. A day before Subramanian ruled, defense lawyers argued fiercely against dismissal, saying that replacing the Black juror with a white alternate juror so late in the trial would change the diverse demographics of the jury and require a mistrial. The jurors are anonymous for the Combs trial. It wasn't the only issue regarding jurors for the week. The judge, angered by a media report about the questioning of another juror the week before that occurred in a sealed proceeding, warned lawyers that they could face civil and criminal sanctions if such a leak happened again. That juror was not dismissed. And Wednesday's court session had to be canceled after a juror reported "vertigo symptoms" on the way to the courthouse. Defense attorney Marc Agnifilo seemed to close the door on any chance Combs would testify when he said Friday that the defense presentation would be finished Tuesday or Wednesday the following week, even if prosecutors don't rest until late Monday. It is not uncommon for defendants to choose not to testify at criminal trials. Besides being exposed to cross-examination by prosecutors, the testimony can be used by the government against the defendant should there be a need for a retrial. Also, if there is a conviction, the judge can conclude that the jury believed the defendant lied on the stand. Brendan Paul, fresh off the college basketball courts where he once played in a cameo role for Syracuse University, joined Combs' companies as a personal assistant in late 2022 and was warned by a friend who had worked for Combs about what was ahead. 'He told me to get in and get out,' Paul recalled for the jury, citing the endless days and always-on-edge existence. 'If you have a girlfriend, break up with her. And you're never going to see your family.' The friend also instructed him to 'build a rolodex of clientele and get out,' he said. Paul said he worked 80 to 100 hours a week for a music power broker who received 'thousands and thousands' of text messages and emails a day. He was paid $75,000 salary initially, but it was raised in January 2024 to $100,000. He said Combs told him he 'doesn't take no for an answer' and wanted his staff to 'move like Seal Team Six.' Several times, Paul said, he picked up drugs for Combs and knew to keep his boss out of the drug trade because 'it was very important to keep his profile low. He's a celebrity.' The job came to an abrupt end in March 2024 when Paul was arrested at a Miami airport on drug charges after a small amount of cocaine that he said he picked up in Combs' room that morning was mistakenly put in his travel bag as he prepared to join Combs on a trip to the Bahamas. The charges were later dropped in a pretrial diversion program.
Yahoo
9 hours ago
- Yahoo
We spent 8 hours at Ebony Beach Club's 'Juneteenth on the Pier'
The Ebony Beach Club's priority is to create a space for Black beachside communities in Los Angeles. So, every year on Juneteenth, they transform a local beach into a full-blown festival, consisting of nonstop DJs, a vivacious dance floor and neighborly vendors. This year, the beach club partnered with Black Lives Matter and took over the Santa Monica Pier. Here's everything that went down. 12:39 p.m. I arrive early. Ebony Beach Club founder, Brick, runs from vendor to vendor, ensuring everyone is ready for the day ahead. He boasts that there's 'not a cloud in sight' — and that everything is aligning for today's 'historic moment.' 1:58 p.m. I never thought I would be able to say I've found a sense of inner peace in the middle of the Santa Monica Pier. The typically chaotic environment is transformed by rhythmic breathing exercises and sound bath frequencies. For a moment, it does feel like I am cooking under the hot summer sun, but still, I couldn't be more at ease. 3:09 p.m. So far, the music selection transcends generations. Anything from Aaliyah to YG and Frankie Beverly fills the beachy air. But after hearing more than one early 2000s Ne-Yo classic, I can't help but wonder what he's up to. Why the lack of 2025 Ne-Yo bangers? 3:40 p.m. The crowd is slowly growing. Most partygoers sport a mix of brightly colored swimwear with denim shorts or matching mini skirts. Others wear graphic tees that commemorate the holiday and show L.A. pride. The most standout looks so far have included bejeweled thongs, color-coordinated snapbacks and sneakers and pleated, baggy jorts. 3:58 p.m. In the flash of a moment, a familiar face glides through the crowded pier. Her grill catches the light and a pair of Labubus hangs from a designer bag. It's none other than R&B royalty Kehlani. A growing swarm of fans start to catch on. I get my chance to say something as she passes. I compliment her latest single and let her continue on her mission to the bar. Cool, casual and of course, no mention of the fact that I was listening to the Kehlani Spotify radio on the whole drive over. 4:45 p.m. Brick halts the music and offers a quick history lesson from the DJ decks. He speaks of the first Ebony Beach Club, started by a man named Silas White in 1957. That year, 2,000 Black people, including Brick's own grandfather, signed up to be members. But the City of Santa Monica had barred it from ever opening. Today's Ebony Beach Club celebration roughly creates space for around 2,000 people to be at the exact same beach and enjoy the party. 'This is the most Black people the Santa Monica pier has seen in a while,' said Brick, who was met with an echoing applause. 'Today, we are Black people who are occupying this space for the first time in a long time.' 5:30 p.m. The emcee says, 'If you're outside the barricade, I'm sorry. If you couldn't get a ticket, I'm sorry.' He addresses the consistent crowd of onlookers who have lingered by the barricades. Some appear to be tourists, but most spectators seem like they were too late to grab a ticket. Nonetheless, they are able to indulge in the sights and sounds, even if it's for only a few minutes. 6:17 p.m. What's an L.A. party without Los Tucanes de Tijuana's 'La Chona?' The norteño anthem gets mixed into T.I. 's 'What You Know.' Unexpected, but somehow serendipitous. 7:25 p.m. I'm starting to seriously question the weight limit on the truck. Though its height is that of a monster truck, it has the feel of a clown car. The truck bed, filled with DJ equipment, is overflowing with people singing along and jumping to the beat. People are perched atop the car, as well as those hanging off its side, in an impressive, partially aerial twerk. I can't even imagine the kind of core strength that it takes. 7:51 p.m. As the party wraps up, Sexyy Red's distinctive vocals overtake the crowd. It feels like one final hurrah. If there's been one consistent feeling that's marked the entire party, it's been an infectious sense of joy. 8:05 p.m. On the way back to the car, people yell 'Happy Juneteenth' out their car windows. My feet are a bit achy and the tops of my shoulders a little sore to the touch, but spirits are still high. Now for the biggest test of patience — braving the traffic of leaving a Santa Monica parking structure. This story originally appeared in Los Angeles Times.


Los Angeles Times
11 hours ago
- Los Angeles Times
We spent 8 hours at Ebony Beach Club's ‘Juneteenth on the Pier'
The Ebony Beach Club's priority is to create a space for Black beachside communities in Los Angeles. So, every year on Juneteenth, they transform a local beach into a full-blown festival, consisting of nonstop DJs, a vivacious dance floor and neighborly vendors. This year, the beach club partnered with Black Lives Matter and took over the Santa Monica Pier. Here's everything that went down. 12:39 p.m. I arrive early. Ebony Beach Club founder, Brick, runs from vendor to vendor, ensuring everyone is ready for the day ahead. He boasts that there's 'not a cloud in sight' — and that everything is aligning for today's 'historic moment.' 1:58 p.m. I never thought I would be able to say I've found a sense of inner peace in the middle of the Santa Monica Pier. The typically chaotic environment is transformed by rhythmic breathing exercises and sound bath frequencies. For a moment, it does feel like I am cooking under the hot summer sun, but still, I couldn't be more at ease. 3:09 p.m. So far, the music selection transcends generations. Anything from Aaliyah to YG and Frankie Beverly fills the beachy air. But after hearing more than one early 2000s Ne-Yo classic, I can't help but wonder what he's up to. Why the lack of 2025 Ne-Yo bangers? 3:40 p.m. The crowd is slowly growing. Most partygoers sport a mix of brightly colored swimwear with denim shorts or matching mini skirts. Others wear graphic tees that commemorate the holiday and show L.A. pride. The most standout looks so far have included bejeweled thongs, color-coordinated snapbacks and sneakers and pleated, baggy jorts. 3:58 p.m. In the flash of a moment, a familiar face glides through the crowded pier. Her grill catches the light and a pair of Labubus hangs from a designer bag. It's none other than R&B royalty Kehlani. A growing swarm of fans start to catch on. I get my chance to say something as she passes. I compliment her latest single and let her continue on her mission to the bar. Cool, casual and of course, no mention of the fact that I was listening to the Kehlani Spotify radio on the whole drive over. 4:45 p.m. Brick halts the music and offers a quick history lesson from the DJ decks. He speaks of the first Ebony Beach Club, started by a man named Silas White in 1957. That year, 2,000 Black people, including Brick's own grandfather, signed up to be members. But the City of Santa Monica had barred it from ever opening. Today's Ebony Beach Club celebration roughly creates space for around 2,000 people to be at the exact same beach and enjoy the party. 'This is the most Black people the Santa Monica pier has seen in a while,' said Brick, who was met with an echoing applause. 'Today, we are Black people who are occupying this space for the first time in a long time.' 5:30 p.m. The emcee says, 'If you're outside the barricade, I'm sorry. If you couldn't get a ticket, I'm sorry.' He addresses the consistent crowd of onlookers who have lingered by the barricades. Some appear to be tourists, but most spectators seem like they were too late to grab a ticket. Nonetheless, they are able to indulge in the sights and sounds, even if it's for only a few minutes. 6:17 p.m. What's an L.A. party without Los Tucanes de Tijuana's 'La Chona?' The norteño anthem gets mixed into T.I. 's 'What You Know.' Unexpected, but somehow serendipitous. 7:25 p.m. I'm starting to seriously question the weight limit on the truck. Though its height is that of a monster truck, it has the feel of a clown car. The truck bed, filled with DJ equipment, is overflowing with people singing along and jumping to the beat. People are perched atop the car, as well as those hanging off its side, in an impressive, partially aerial twerk. I can't even imagine the kind of core strength that it takes. 7:51 p.m. As the party wraps up, Sexyy Red's distinctive vocals overtake the crowd. It feels like one final hurrah. If there's been one consistent feeling that's marked the entire party, it's been an infectious sense of joy. 8:05 p.m. On the way back to the car, people yell 'Happy Juneteenth' out their car windows. My feet are a bit achy and the tops of my shoulders a little sore to the touch, but spirits are still high. Now for the biggest test of patience — braving the traffic of leaving a Santa Monica parking structure.