Cover image for Eugene "Pineapple" Jackson : his own story
Eugene "Pineapple" Jackson : his own story
Jackson, Eugene W., 1916-2001.
Publication Information:
Jefferson, N.C. : McFarland, [1999]

Physical Description:
xi, 223 pages : illustrations ; 24 cm
Format :


Call Number
Material Type
Home Location
Item Holds
PN2287.J26 A3 1999 Adult Non-Fiction Central Closed Stacks
PN2287.J26 A3 1999 Adult Non-Fiction Central Closed Stacks
PN2287.J26 A3 1999 Adult Non-Fiction Black History Non-Circ

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At age 6, Eugene Jackson was tap dancing for nickels and dimes on the streets of Los Angeles. Soon after, Jackson landed the role of Pineapple in Hal Roachs enduring 1924 comedy series Our Gang. Jackson broke away from the other little rascals for a solo career that saw him become the first African American child star in talkies, appearing in 1929s Hearts in Dixie. At age 16, his personal vaudeville tour visited 89 cities in 16 states. A true trailblazer, Jackson opened the door for other African American entertainers. In his first-ever autobiographical work, Jackson recounts his remarkable career in show business as an actor, comic, singer, dancer and musician. He recalls working with such entertainment giants as Gene Autry, Irene Dunne, Bill Bojangles Robinson, Judy Garland, Sammy Davis, Jr., Gene Kelly, Al Jolson and Gregory Hines, to name a few. Rare personal photographs and a filmography supplement the story of Mr. Jacksons amazing life, told in his own words.

Reviews 1

Booklist Review

In the first Our Gang movies--before Buckwheat, before Spanky--Jackson was the lone African American member of the troupe of tot comics. In a rambling reminiscence, he reflects on his career. "My gift from God was a flair for entertaining," he says. "I've been ignored and forgotten about for too long. Now it's my time to tell my story. It won't bore you." It doesn't. Between movies, Jackson worked in vaudeville and taught. His stories about life on the road entertain and relate its day-to-day grind. Money was often short, yet the performers were usually paid. When Jackson and other African American dancers performed for the Disney studio "between 1935 and 1937," they "never received any big money" for footage on which a production number in Dumbo (1941) was based. Since then, Disney has recognized Jackson and the others' contribution, with no mention, however, of any retroactive remuneration. Jackson, a living slice of American entertainment history, is still a crowd pleaser and deserves to be paid: buy the book. --Mike Tribby