how big/important is the "black singles chart" in USA? Plus question about airplay.

JichaelMackson

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Nearly all J5/MJ singles were huge hits in this list but as a European I have no clue what it means. Jam for example was nr 3 in that chart while it only reached nr 26 (?) in the pop charts. Why is one more important than the other?
Does this simply mean that Jam wasn't liked by the "white" audience?

Also is anything post bad album still regularly played on the radio? I swear the only MJ stuff I hear on the radio is I want you back, ABC, blame it on the boogie and then the off the wall, thriller and bad singles. I'm European based, how is it where you guys live/reside?
 
I live in America and sadly I don't know myself. lol. they should be as important as any other artists. i'm not really the one who look at charts etc only it been mention.

maybe someone here may know if they live in America.
 
Top 40

The Hot 100 chart is for singles and Billboard 200 for albums is for everything together in the USA. The Top 40 is the upper part of the Hot 100 and is a radio format. They represent what is popular to the mainstream American audience. Technically, you could say "mainstream" is the white audience in general. It doesn't mean that only white people listen to it or buy it. But since whites are considered the majority, it tends to sell more if they get into it. All the other charts are considered "sub-charts" for specific audiences (R&B/Hip Hop, country, Album Oriented Rock, alternative rock, dance, Latin pop, Regional Mexican, adult contemporary, etc). That's why acts on the sub-charts are said to "crossover" to the Top 40. They're crossing over to the mainstream audience. Like Kenny Rogers is a country singer who got Top 40 airplay and George Strait did not. The Jacksons (rather than the J5) as a group did not get as much crossover airplay as Mike or Janet. Jermaine had a lot of R&B hits too, but few Top 40 pop hits because he usually did not get airplay there.

The way crossover usually worked in the past is that if a song happened to become a big hit for the audience who primarily listen to the radio stations for the specific genre, it might start to get airplay on Top 40. R&B as a genre never really crossed over like hip hop later did. Hip hop is mainstream music now, it does not have to crossover like R&B still does to this day. In the beginning, it did have to crossover like with Run-DMC. Some R&B was considered too black for crossover. 1960s Motown was designed to crossover. This is why Diana Ross was pretty much given all of the leads in The Supremes, when before signing with Motown, they started out sharing leads. Flo & Mary voices were considered too gospel/R&B for pop airplay.

But not everybody played on the specific genre stations get crossover airplay. Other than the main rock (AOR) stations, most of the other artists for genres like R&B did not get the same amount of promotion budget as Top 40. They also did not get the same amount of mainstream media attention. There's a reason things like Ebony Magazine, Right On!, Soul Train, BET, Telemundo, etc. were created. To give black entertainers an outlet that they generally did not get otherwise. Rolling Stone declined to do a cover story on Mike after the success of Off The Wall, but they would do a story about him. Which was code for mainstream magazines thinking that non-white people on the cover did not sell as well. Also the reason early MTV said that they had a rock format, but they would show Hall & Oates videos and they were basically doing R&B. During it's entire history, Top 40 radio was more likely to play a white act doing R&B than a black one. Such as New Kids On The Block became way more popular than New Edition. The Rolling Stones, Led Zeppelin, Elvis Presley, etc were more popular than the black blues and R&B singers who they were influenced by. Rock n roll was originally came from music by black artists, but is pretty much known as white music today. Notice that most of the biggest sellers in history are white male rock acts.
 
Wow. that's really sad. it's really goes to show you nothing much changed. though, i can say nowadays it seem more people of different races are listening to all kinds of music.

i could be wrong because like I said I don't look at the charts only it's mention.
 
Also is anything post bad album still regularly played on the radio? I swear the only MJ stuff I hear on the radio is I want you back, ABC, blame it on the boogie and then the off the wall, thriller and bad singles. I'm European based, how is it where you guys live/reside?
I'm in the USA. It depends on the radio format as to what is played today. These songs get fairly regular airplay today on the local stations.

Adult R&B:

Remember The Time
Butterflies
You Rock My World
Jam

Lady In My Life
P.Y.T.
Billie Jean
Rock With You
Working Day And Night
Another Part Of Me
The Jacksons - Heartbreak Hotel
Jackson 5 - I Want You Back
SWV - Right Here (Human Nature remix)

adult contemporary:
You Are Not Alone
Black Or White

She's Out Of My Life
Human Nature
Man In The Mirror
The Way You Make Me Feel
Jackson 5 - I Saw Mommy Kissing Santa Claus (Every year, starting in mid-November, the local AC station goes to an all Christmas song playlist)

Top 40 oldies
:
Black Or White
Wanna Be Startin' Somethin'
Smooth Criminal
Beat It
Billie Jean
Bad
Thriller
The Way You Make Me Feel
The Jacksons - Shake Your Body
Rockwell - Somebody's Watching Me

soul oldies
:
I Can't Let Her Get Away
I Wanna Be Where You Are
Got To Be There
Lady In My Life
Billie Jean
Baby Be Mine
Jermaine & Michael - Tell Me I'm Not Dreamin'
Jackson 5 - Whatever You Got I Want
Jackson 5 - I Am Love
Jackson 5 - All I Do Is Think Of You
Jackson 5 - Dancing Machine
The Jacksons - Good Times
The Jacksons - Show You The Way To Go
The Jacksons - Enjoy Yourself
The Jacksons - Push Me Away
The Jacksons - Lovely One
The Jacksons - Walk Right Now
The Jacksons - State Of Shock
The Jacksons - Torture
The Jacksons - One More Chance
The Jacksons - 2300 Jackson Street
 
I'm in Australia and I regularly hear tracks from Dangerous, HIStory and Invincible played on my radio station.
 
^ i hear off the wall stuff mainly here
 
Rev. James L. White

Here's a skit from the 1970s Richard Pryor Show that could apply to record labels wanting their R&B acts to crossover to the mainstream audience. It's at time 6:50-8:10.
 
Jackson 5ive

I Want You Back: #1 (1970)
ABC: #1 (1970)
The Love You Save: #1 (1970)
I'll Be There: #1 (1970)
Mama's Pearl: #2 (1971)
Maybe Tomorrow: #3 (1971)
Never Can Say Goodbye: #1 (1971)
Sugar Daddy: #3 (1972)
Little Bitty Pretty One: #8 (1972)
Lookin' Through The Windows: #5 (1972)
Corner Of The Sky: #9 (1972)
Hallelujah Day: #10 (1973)
Get It Together: #2 (1973)
Dancing Machine: #1 (1974)
Whatever You Got, I Want: #3 (1974)
You Haven't Done Nothin' {Stevie Wonder}: #1 (1974)
I Am Love (Parts I & II): #5 (1975)
Forever Came Today: #6 (1975)
All I Do Is Think Of You: #50 (1975)
Who's Lovin' You: #48 (1992)
 
The Jacksons

Enjoy Yourself: #2 (1976)
Show You The Way To Go: #6 (1977)
Goin' Places: #8 (1977)
Find Me A Girl: #38 (1978)
Blame It On The Boogie: #3 (1978)
Shake Your Body (Down To The Ground): #3 (1979)
Lovely One: #2 (1980)
Heartbreak Hotel: #2 (1981)
Can You Feel It: #30 (1981)
Walk Right Now: #50 (1981)
State Of Shock {with Mick Jagger}: #4 (1984)
Torture: #12 (1984)
Body: #39 (1984)
Time Out For The Burglar: #88 (1987)
Nothin' (That Compares 2 U): #4 (1989)
2300 Jackson Street: #9 (1989)
 
Michael

Got To Be There: #4 (1971)
I Wanna Be Where You Are: #2 (1972)
Ben: #5 (1972)
Rockin' Robin: #2 (1972)
With A Child's Heart: #14 (1973)
We're Almost There: #7 (1975)
Just A Little Bit Of You: #4 (1975)
Ease On Down The Road {Diana Ross & Michael Jackson}: #17 (1978)
You Can't Win (Part 1): #42 (1979)
Don't Stop 'Til You Get Enough: #1 (1979)
Rock With You: #1 (1980)
Off The Wall: #5 (1980)
She's Out Of My Life: #43 (1980)
Save Me {Dave Mason}: #70 (1980)
One Day In Your Life: #42 (1981)
The Girl Is Mine {Michael Jackson & Paul McCartney}: #1 (1983)
Billie Jean: #1 (1983)
Beat It: #1 (1983)
Wanna Be Startin' Somethin': #5 (1983)
Human Nature: #27 (1983)
Say Say Say {Paul McCartney & Michael Jackson}: #2 (1983)
P.Y.T. (Pretty Young Thing): #46 (1983)
Thriller: #3 (1984)
Farewell My Summer Love: #37 (1984)
Somebody's Watching Me {Rockwell}: #1 (1984)
We Are The World {USA For Africa}: #1 (1985)
I Just Can't Stop Loving You {feat. Siedah Garrett}: #1 (1987)
Bad: #1 (1987)
The Way You Make Me Feel: #1 (1987)
Man In The Mirror: #1 (1988)
Get It {Stevie Wonder & Michael Jackson}: #4 (1988)
Dirty Diana: #5 (1988)
Another Part Of Me: #1 (1988)
Smooth Criminal: #2 (1988)
Black Or White: #3 (1992)
Remember The Time: #1 (1992)
In The Closet: #1 (1992)
Jam: #3 (1992)
Heal The World: #62 (1993)
Who Is It: #6 (1993)
Whatzupwitu {Eddie Murphy feat. Michael Jackson}: #74 (1993)
Right Here (Human Nature Remix) {SWV}: #1 (1993)
Will You Be There: #53 (1993)
Scream {Michael Jackson & Janet Jackson}: #2 (1995)
You Are Not Alone: #1 (1995)
Why {3T feat. Michael Jackson}: #71 (1996)
They Don't Care About Us: #10 (1996)
Stranger In Moscow: #50 (1997)
Blood On The Dance Floor: #19 (1997)
You Rock My World: #13 (2001)
Butterflies: #2 (2002)
Heaven Can Wait: #72 (2002)
One More Chance: #40 (2003)
This Is It {feat. The Jacksons}: #18 (2009)
Hold My Hand {Akon & Michael Jackson}: #33 (2010)
Hollywood Tonight: #46 (2011)
Love Never Felt So Good {Michael Jackson & Justin Timberlake}: #5 (2014)
Slave To The Rhythm: #12 (2014)
Chicago: #50 (2014)
Don't Matter To Me {Drake feat. Michael Jackson}: #8 (2018)
 
Jermaine

That's How Love Goes: #23 (1972)
Daddy's Home: #3 (1973)
You're In Good Hands: #35 (1973)
Let's Be Young Tonight: #19 (1976)
You Need To Be Loved: #75 (1977)
Castles Of Sand: #38 (1978)
Let's Get Serious: #1 (1980)
You're Supposed To Keep Your Love For Me: #32 (1980)
You Like Me Don't You: #13 (1981)
Little Girl Don't You Worry: #17 (1981)
I'm Just Too Shy: #29 (1981)
Let Me Tickle Your Fancy: #5 (1982)
Paradise In Your Eyes: #60 (1982)
Very Special Part: #54 (1982)
Dynamite!: #8 (1984)
Do What You Do: #14 (1985)
When The Rain Begins To Fall {feat. Pia Zadora}: #61 (1985)
(Closest Thing To) Perfect: #63 (1985)
I Think It's Love: #14 (1986)
Do You Remember Me?: #40 (1986)
Words Into Action: #90 (1987)
Don't Take It Personal: #1 (1989)
Two Ships: #21 (1990)
I'd Like To Get To Know You: #27 (1990)
You Said, You Said: #25 (1991)
I Dream, I Dream: #30 (1992)
Word To The Badd!!: #88 (1992)
 
Randy

How Can I Be Sure: #91 (1978)
Perpetrators {Randy & The Gypsys}: #41 (1989)
Love You Honey {Randy & The Gypsys}: #16 (1990)
 
Tito

Both of these songs charted on the Adult R&B chart, which is the R&B equivalent of adult contemporary.

Get It Baby
: #20 (2016)
One Way Street: #29 (2019)
 
Janet

Young Love: #6 (1982)
Say You Do: #15 (1983)
Come Give Your Love To Me: #17 (1983)
Don't Stand Another Chance: #9 (1984)
Fast Girls: #40 (1985)
What Have You Done For Me Lately: #1 (1986)
Nasty: #1 (1986)
When I Think Of You: #3 (1986)
Control: #1 (1987)
Let's Wait Awhile: #1 (1987)
Diamonds {Herb Alpert}: #1 (1987)
The Pleasure Principle: #1 (1987)
Making Love In The Rain {Herb Alpert feat. Lisa Keith & Janet Jackson}: #7 (1987)
Miss You Much: #1 (1989)
Rhythm Nation: #1 (1990)
Escapade: #1 (1990)
Alright: #2 (1990)
Black Cat: #10 (1990)
Come Back To Me: #2 (1990)
Love Will Never Do (Without You): #3 (1991)
The Best Things In Life Are Free {Luther Vandross & Janet Jackson with BBD & Ralph Tresvant}: #1 (1992)
That's The Way Love Goes: #1 (1993)
If: #3 (1993)
Again: #7 (1993)
Because Of Love: #9 (1994)
Any Time, Any Place / And On And On: #1 (1994)
You Want This / 70's Love Groove: #9 (1994)
Runaway: #6 (1995)
Scream {Michael Jackson & Janet Jackson}: #2 (1995)
Together Again: #8 (1998)
I Get Lonely (remix) {feat. Blackstreet}: #1 (1998)
Luv Me, Luv Me {Shaggy}: #44 (1998)
Girlfriend/Boyfriend {Blackstreet & Janet Jackson}: #17 (1999)
What's It Gonna Be?! {Busta Rhymes feat. Janet Jackson}: #1 (1999)
Doesn't Really Matter: #3 (2000)
All For You: #1 (2001)
Someone To Call My Lover: #11 (2001)
Son Of A Gun {feat. Missy Elliott, P. Diddy & Carly Simon}: #26 (2001)
Feel It Boy {Beenie Man feat. Janet}: #31 (2002)
I Want You: #18 (2004)
All Nite (Don't Stop): #90 (2004)
Don't Worry {Chingy feat. Janet Jackson}: #60 (2005)
Call On Me {Janet Jackson & Nelly}: #1 (2006)
So Excited {feat. Khia}: #34 (2006)
With U: #65 (2007)
Feedback: #39 (2008)
Luv: #34 (2008)
Can't B Good: #76 (2008)
Nothing: #58 (2010)
Make Me: #71 (2010)
No Sleeep {feat. J. Cole}: #18 (2015)
Made For Now {feat. Daddy Yankee}: #36 (2018)
 
Rebbie

Centipede: #4 (1984)
A Fork In The Road: #40: (1985)
Reaction: #16 (1986)
You Send The Rain Away: #50 (1987)
Plaything: #8 (1988)
R U Tuff Enuff: #78
Yours Faithfully: #76 (1998)
 
LaToya

If You Feel The Funk: #40 (1980)
Night Time Lover: #59 (1980)
Stay The Night: #31 (1981)
Bet'cha Gonna Need My Lovin': #22 (1983)
Heart Don't Lie (feat. Howard Hewett): #29 (1984)
Hot Potato: #43 (1984)
He's A Pretender: #76 (1986)
Oops, Oh No (Cerrone & LaToya Jackson): #89 (1986)
You're Gonna Get Rocked: #66 (1988)
 
Jet Magazine (June 6, 1974)

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@DuranDuran what 2 songs prevented Black or white from going higher than nr 3 on the black singles chart?
and how come a black anthem like TDCAU only reached nr 10?
 
The answer the question is dependent on what era we are talking about. 'Black charts' today mean something completely different than it did in the 70s. They should not even have segregated charts like that anymore, it's demeaning.
 
The answer the question is dependent on what era we are talking about. 'Black charts' today mean something completely different than it did in the 70s. They should not even have segregated charts like that anymore, it's demeaning.
I don’t know what it is called now but doesn’t matter, the chart is still the same.
Wasn’t it just a good way to see what the black community liked?

Just looking at these charts @DuranDuran posted I prefer them over the pop charts…
 
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^ It was designed because black music would not get the same promotion and radio play. Specific channels unwilling to play them etc.. In result black music would sell much less than white music.. After years of not winning awards and being overlooked they created black charts and black awards to pacify the community while the main charts were able to continue to ignore them, sales #s did not have to compare, and dodge proper promotion to raise sales..

This is a big reason why Michael fought so hard to not just be a 'black artist', he wanted to break that, and he did!!
 
@DuranDuran what 2 songs prevented Black or white from going higher than nr 3 on the black singles chart?
and how come a black anthem like TDCAU only reached nr 10?
It was only called "Black Singles" & "Black Albums" in the 1980s. In the 1970s, it was "Hot Soul Singles/Albums". In the 1990s it was "Hot R&B Singles". Currently it's called "R&B/Hip Hop". Right now, there is also a separate chart called "Adult R&B", which is a radio format where new songs by veteran acts such as Charlie Wilson, Maxwell, & Babyface are played, but they do play some newer acts like Bruno Mars, Adele, H.E.R., & Ari Lennox. Adult R&B also plays R&B oldies and early hip hop like Whodini. Before the 1970s, the R&B chart had various names depending on the year like "Race Music". "Rhythm & Blues" (spelled out instead of "R&B"), "Harlem Hit Parade", "Hot R&B Sides", etc. The really odd thing about the "Black" chart years is not everybody on it was black 😄 (ig. Teena Marie, Lisa Lisa, Taylor Dayne, Gloria Estefan, The Jets, Hall & Oates, Wham!/George Michael, Madonna, Beastie Boys, Robert Palmer, Exposé, etc. Even the Pet Shop Boys, Tears For Fears, Depeche Mode, & Samantha Fox had a song or 2 that got R&B radio airplay). Pet Shop Boys, Don Henley, & Duran Duran appeared on Soul Train in the mid 1980s.

Black Or White only lasted 1 week at #3 on the Hot R&B Singles chart (January 18, 1992). The songs ahead of it were:
1 Tevin Campbell ~ Tell Me What You Want Me To Do
2 Keith Sweat ~ Keep It Comin'

In the case of They Don't Care About Us, a lot of radio stations in the USA wouldn't play it (pop radio in particular) at the time because of the Jewish terms in the song. So that probably prevented it from going any higher. It later got bleeped out, but the damage was done already from Jewish organizations protesting the song saying it was anti-Semitic. It pretty much became an anthem in recent years because of incidents happening in the US, not so much at the time it was originally released.
 
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