Once upon a time, not so very many years ago, there were two little monkey boys who lived with their papa and mamma off in the woods in a funny house at the top of a tall tree. These little monkeys were the cutest and most cunning chaps you would want to see, even if you went in an airship to the circus.

Once upon a time, not so very many years ago, there were two little monkey boys who lived with their papa and mamma off in the woods in a funny house at the top of a tall tree. These little monkeys were the cutest and most cunning chaps you would want to see, even if you went in an airship to the circus.I have already told you something about one of them—a red monkey—who traveled with Uncle Wiggily Longears, when the old gentleman rabbit was going about, seeking his fortune. Well, this red monkey's name was Jacko Kinkytail; and his tail, as were the tails of all his family, was all twisted up in kinks. That's how Jacko got his last name—Kinkytail. His brother's name was Jumpo, and Jumpo was colored green. The reason for that was this:Once Jumpo's mamma bought him a green balloon at the circus. Jumpo was a little baby then, and he didn't know any better than to try to eat the green balloon. Perhaps he thought it was candy. At any rate, before his mamma saw him he had chewed nearly half of the balloon, and he soon turned a pretty green color like the leaves on the trees. Oh! his mamma and papa felt dreadful about it, and they did everything they could to get the color out of the little monkey, but they couldn't, and green he stayed.

Michael Jackson challenged the power structure of the American music industry and struck at the heart of blackface minstrelsy, America’s first form of mass entertainment. The response was a derisive caricature that over time Jackson subverted through his art. In this expanded, all-new edition, Michael Jackson and the Blackface Mask argues for the tangible relationship between Jackson and blackface minstrelsy. It reveals the dialogue at minstrelsy’s core and, in its broader sense, tracks a centuries-long pattern of racial oppression and its resistance and how that has been played out in popular theatre. Michael Jackson and the Blackface Mask explores Jackson’s early talent and fame and the birth and escalation of ‘Wacko Jacko’. In relation to all this, the book examines Jackson’s dynamic art as it evolved, from his live performances and short films to the very surface of his own body. Scholarly and interdisciplinary, this work is suitable for readers across a diverse spectrum of academic fields, including African American studies, popular music studies and cultural theory, media and communication, gender studies and performance and theatre studies. Academic but accessible, this book will also be an engaging read for anyone interested in Michael Jackson and especially in his role as an icon of difference, in America’s dynamics of race and his mass media image.

Includes Part 1, Books, Group 1, Nos. 1-12 (1945)