Jacko And Jumpo Kinkytail The Funny Monkey Boys

"Jacko and Jumpo Kinkytail (The Funny Monkey Boys)" by Howard Roger Garis. Published by Good Press. Good Press publishes a wide range of titles that encompasses every genre. From well-known classics & literary fiction and non-fiction to forgotten−or yet undiscovered gems−of world literature, we issue the books that need to be read. Each Good Press edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format.

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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.

Excerpt from Jacko and Jumpo Kinkytail: Funny Monkey the Funny Monkey Boys Once upon a time, not so very many years age, 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. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

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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)