Commentary

Re-Fueling Jet Magazine Where Everyone Can Be ‘Beauty of the Week’

Remember “Beauty of the Week,” Jet magazine’s famous page 43, which featured Black women college students, actors, nurses, and everyday girls in swimsuits? Now, anyone can be a beauty of the week or even grace the cover as the iconic publication re-sets digitally and where readers and fans can go to myjetstory.com and upload their photos and create a personalized Jet cover.

Published

3 years ago

March 27, 2023

Oakland Post

Founded in 1951 by John H. Johnson, Jet proved a mainstay in primarily Black households across America. Like Ebony, founded six years earlier, Jet chronicled Black life in America and provided a lens into the African American community that mainstream media either ignored or misrepresented.

By Stacy M. Brown, NNPA Newswire Senior National Correspondent
@StacyBrownMedia

Remember “Beauty of the Week,” Jet magazine’s famous page 43, which featured Black women college students, actors, nurses, and everyday girls in swimsuits?

Now, anyone can be a beauty of the week or even grace the cover as the iconic publication re-sets digitally and where readers and fans can go to myjetstory.com and upload their photos and create a personalized Jet cover.

“Everybody has a Jet story,” Daylon Goff, the president of Jet, said during a 30-minute interview on the National Newspaper Publishers Association daily show, Let It Be Known.

“I’m always rocking Jet merchandise, and when someone finds out what I do for a living, they immediately give me their Jet story. Unprompted.”

For Goff, that’s all the fuel he needed to help in what he calls the re-set of Jet.

“It’s super exciting for me to be able to take this on,” Goff insisted.

“When you hear ‘Beauty of the Week,’ you don’t have to even say Jet beauty of the week. It’s synonymous. I get those conversations from both men and women at least three times a week.”

Founded in 1951 by John H. Johnson, Jet proved a mainstay in primarily Black households across America.

Like Ebony, founded six years earlier, Jet chronicled Black life in America and provided a lens into the African American community that mainstream media either ignored or misrepresented.

Goff recalled the disturbing but necessary images Jet published in 1955 of Emmett Till’s body after he was lynched and tortured.

“We had to be bold because you have that full ownership and understanding of the significance of that story,” Goff related.

“Jet was to the Emmett Till story what Twitter, Instagram, and Facebook live was to George Floyd. It started a movement. It wasn’t like little Black boys and men weren’t getting killed in Mississippi in 1955, but when you saw it on those pages, you felt you had to do something.

“The same way when you saw on social media George Floyd’s murder, you had to do something about it because it wasn’t as if before that moment, Black men weren’t getting killed by the police.”

While Jet told real stories about real people, most readers began with page 43.

With the re-set, Goff said one shouldn’t expect an immediate return of the Beauty of the Week.

“It was relatable and owned by our community,” Goff explained.

“The Beauty of the Week was a college student at Fayetteville, a nurse, secretary, or actress. Relatable people that we all thought were attainable. But how can we be relevant to our audience in a world that’s different and the way we consume information and get information?”

For instance, Goff wondered what would happen if Rihanna were chosen as the first beauty.

“Then Lizzo fans could say, what about her? And if we choose Lizzo, RuPaul could say, what about me?” Goff stated.

“People would have every right to say that Jet is saying ‘I’m not beautiful.’”

Indeed, Jet was social media before Instagram, Twitter, and Facebook.

Going viral in pre-social media days meant being on the cover of Jet.

Goff, whose background is brand marketing, understands that the Jet re-set is a challenging assignment.

But he’s thrilled to take it on.

“I call this being re-fueled by Jet. We can be relevant to our audience in a world that’s different, and the way we consume information and get information is different,” he stated.

“I also have to be relevant to an audience in a way that Ebony isn’t cannibalized. And we can do that. If we compare Ebony and Jet to iconic television characters, Ebony is Claire Huxtable, and Jet is Martin [Lawrence]. They both speak to the Black experience but in a different way.”

The key, Goff said, is figuring out how to keep Jet around for the next 70 or so years.

Basketball legend Charles Barkley still refers to Jet as the Black ‘bible,” Goff said, but the challenge is to ensure that a younger generation connects with the publication.

“Talking to 20 and 25-year-olds, I’m sometimes surprised that they are familiar with Jet,” Goff said.

“People never threw away Jet. They put them in boxes, and I’m sure there’s a ton in someone’s attic. You just had to hold on to them. There’s a spark from the younger generation; for me, it’s about igniting that spark.

“The great part about the next generation is that they also grew up with this computer in their pocket and can find and search for knowledge. So, we need to ensure that our iconic brands remain for years.”

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Arts and Culture

COMMENTARY: Black Music is the Sound of Black Freedom: Let Us Reclaim Both This Juneteenth

Black Music Month started when Black Music Association members Ed Wright, Kenny Gamble and his wife, journalist and radio host Dyanna Williams were able to persuade President Jimmy Carter to establish the observation on June 7, 1979.

Published

22 hours ago

June 9, 2026

Oakland Post

Robert Johnson (1911-1938) is thought of as the godfather of blues music, especially Delta blues. The 29 songs recorded by him during his short life have been of massive inspiration to guitarists and musicians over the last 80 years. Public domain photo.

By Wanda Ravernell

Black Music Month and Juneteenth are inextricably linked – Black music is the sound of our freedom.

From the plaintive moans of the enslaved Africans’ ‘sorrow songs,’ to the fields of Civil War battle where Black soldiers picked up abandoned bugles, to the upright piano played in juke joints on Saturday night and churches come Sunday morning, our ancestors’ innovation in the face of want, fear, degradation, and hopelessness has yielded genres of music imitated ’round the world.

In 2000, Congress made it official. In 2009, Pres. Barack Obama changed the name to African American Music Heritage Month and in 2023, Pres. Joe Biden changed it back to Black Music Month, two years after he declared Juneteenth a national holiday, the result of a movement led by Opal Lee.

Our ancestors battle for freedom over these last 400 years and the music that allowed them expression of their humanity deserved to be honored.

But we may be losing sight of the value of their sacrifices.

‘Sing a Song Full of the Faith That the Dark past Has Taught Us…’

Along with the long-known exploitation of Black musicians whose recordings were stolen by record companies, the commercialization of Juneteenth feels like another kind of theft.

I had never heard of Juneteenth until I moved to the Bay Area from my hometown of Philadelphia. I didn’t know it was one of many freedom festivals celebrated by descendants of enslaved people in the United States.

Emancipation Day was Jan. 1 in Pennsylvania, April 16 in Wash., D.C., May 20 in Florida, and Aug. 8 in Kentucky. But Juneteenth, June 19, has the most renown, known in Texas as the ‘colored peoples’ Fourth of July.’

It was marked by parades, beauty pageants, rodeos, backyard barbecues and church picnics.

Yes, church.

The formerly enslaved began the day praying in thanks for their freedom just as they had prayed for Jubilee – the day of freedom – when they had chains on their feet and hands. They ‘testified’ about their past suffering and how they had managed to overcome.

And they sang.

Although, we will not hold it this year, Omnira Institute’s Juneteenth Ritual of Remembrance recalled this part of Juneteenth with prayers in the languages of the African captives. In the middle of the ceremony, a soloist would lead us in singing “Many Thousand Gone” while we took turns reciting portions of the Emancipation Proclamation, the news of freedom that took more than two years to reach Texas – two months after the Civil War ended.

“Many Thousand Gone” was famously recorded by Black luminary Paul Robeson in 1947:

“No more auction block for me,

No more, no more

No more auction black for me

Many thousand gone.”

Other verses refer to the ‘pint of salt’ and the ‘driver’s lash,’ the realities of enslavement that they had survived.

‘Sing a Song Full of the Hope That the Present has Brought Us’

All of the genres of African American music have at their root songs like that, the essence being, as Stevie Wonder, wrote, “the joy inside our pain.” So Black music is not just music. It is our story, our history, our very strength.

During the Civil Rights Movement, which peaked 100 years after slavery ended, the people testified that it was the freedom songs – based on spirituals – that gave them the heart to march, face attack dogs, fire hoses, beatings, and shootouts with vigilantes.

The music reminded them that power was in the people. That music, our music, can do so again. We don’t have to accept the commodification of the products of our culture.

The power of those songs is showing a resurgence across the South as we battle again for the right to self-determination through the ballot box.

Those songs are the voices of our ancestors, voices forged in their blood, their sweat, their tears, joy and, above all, faith. Those songs, those prayers live in our blood and our very breath.

This Juneteenth, let us reclaim those holy voices expressed in Black music for ourselves. It is our birthright. It can neither be bought nor sold. No more. Never again.

Wanda Ravernell is the executive director of Omnira Institute, sponsor for 18 years of the Juneteenth Ritual of Remembrance and Oakland’s 11^th Annual Black-Eyed Pea Festival, which will take place on Sept. 12.