Musical Mose: An Early 1902 Comic Strip Adventure

Musical Mose: In the annals of comic strip history, George Herriman looms prominent, predominantly celebrated for his iconic creation, “Krazy Kat.” However, long before the whimsical feline and his surreal desert landscapes danced across the pages, Herriman embarked on his journey as a cartoonist with an obscure and intriguing series called “Musical Mose.” Published as his first continuing series for Pulitzer’s New York World in 1902, “Musical Mose” is a unique window into the past, exploring themes of race, identity, and social commentary through humor and caricature.

This article delves into the “Musical Mose” world, seeking to uncover the broader implications of this early work in George Herriman’s illustrious career.

“Musical Mose” was a short-lived comic strip series created by George Herriman in 1902. It featured a character named Musical Mose, a black musician who embarked on various humorous adventures and impersonations. The series ran for just three or four episodes in the New York World.

Herriman’s use of racial caricature and the character’s ability to adopt different social identities through his musical talent raise questions about how comic strips of the time portrayed racial and ethnic stereotypes. The series challenges conventional racial hierarchies and adds complexity to the understanding of caricature in comics during the late 19th and early 20th centuries.

Notably, George Herriman’s mixed racial heritage adds an additional layer of intrigue to the character Musical Mose and his use of masks to assume various roles. The comic strip prompts discussions about racial identity and the risks associated with trying to pass for a different race, all in the name of art.

The Genesis of “Musical Mose”

George Herriman’s rise in the world of comic strips began in 1902 when he secured a position with one of the most prestigious newspapers in the United States, Pulitzer’s New York World. At that time, he was an unknown cartoonist, far from achieving the stardom he would later attain with “Krazy Kat.” Nevertheless, Herriman’s early work demonstrated a remarkable aptitude for slapstick humor.

His first foray into the comic strip world was “Musical Mose,” a series that followed the misadventures of a black musician named Mose.

Although Herriman’s later fame as the creator of “Krazy Kat” overshadows this early endeavor, “Musical Mose” provides valuable insights into the cartoonist’s evolving style and social commentary. The series consisted of only three or four episodes, and it has primarily remained an obscure footnote in Herriman’s career. Thankfully, the scans of these strips have been preserved and made available online by Allan Holtz at the Stripper’s Guide blog.

Exploring “Musical Mose”

“Mose” is a traveling musician, and the recurring theme of his recitals going hilariously awry serves as the central premise of the strip. What makes “Musical Mose” particularly intriguing is how Herriman incorporates themes of race and identity into the series. Mose often attempts to impersonate different ethnic performers, leading to comical yet thought-provoking scenarios.

Impersonation as a Running Gag

In one episode, Mose is seen impersonating an Italian organ grinder, eventually punching him by a group of Italian men. In another instance, he plays the Irish fiddle beautifully but is assailed by the Tipperary Guards for singing “The Wearing of the Green.” This recurring theme of Mose attempting to pass various ethnicities through his performances serves as a springboard for discussing the racial caricatures prevalent in early American comic strips.

Racial Caricature and Identity

Mose’s relentless pursuit of musical success, even if it means adopting different ethnic personas, raises intriguing questions about how cartoonists of the era used blackface minstrel traditions as visual and verbal shorthand for African Americans. It’s essential to view “Musical Mose” not merely as a source of offense or an example of racial caricature but as a historical artifact that can prompt us to ask more profound and nuanced questions.

Mose’s character defies simple categorization. He disregards his wife’s advice to “confine yo’ sef to de culled church festivals” and consistently assumes new social identities through his musical talent. He appears as an ever-ambitious working-class trickster, ceaselessly trying to break into new social and economic strata. Whether motivated by bliss or financial need, Mose’s endeavors lead us to reconsider the fixed racial hierarchies that underpinned late-19th and early 20th-century caricatures in comics.

George Herriman’s Mixed Racial Heritage

What adds a layer of complexity to the interpretation of “Musical Mose” is George Herriman’s mixed-racial heritage. As Jeet Heer highlights in his discussion of Herriman and race, Mose says, “‘I wish mah color would fade.” This leads us to question whether Herriman was mocking Mose, himself, or both. Alexander Stern further explores this theme in his 2008 column for the Times Union, drawing parallels between Herriman and Mose, who understand the perils of trying to pass for different races in the name of art.

Comparing “Musical Mose” to Contemporary Comic Strips

To fully appreciate the significance of “Musical Mose,” it’s essential to consider it in the context of contemporary comic strips, particularly those that employ racial caricature as a common trope. In contrast to other strips of the time, such as Richard Outcault’s “Pore Lil Mose” (1900-1902) and William Marriner’s “Sambo and His Funny Noises” (1905-1914), “Musical Mose” stands out as a unique and thought-provoking work.

Differentiating “Musical Mose” from Its Peers

“Mose” diverges from the conventional tropes of caricature prevalent in early comic strips. While other strips often relied on stereotypical depictions of African Americans and other ethnicities for cheap humor, “Musical Mose” pushes the boundaries of caricature by challenging the narrow confines of racial and ethnic representation. It forces us to reconsider the cultural and social deceptions that Herriman intended to convey.

Mose as an Early Bert Williams

In considering the character of Mose, one is reminded of the famed African-American entertainer Bert Williams, who similarly navigated complex racial and identity issues through his performances. Mose and Bert Williams share the experience of straddling racial boundaries to pursue their art. The comparison between the two provides a deeper understanding of the complexities inherent in Mose’s character.

Challenging Racial Caricature

By introducing ambiguity into Mose’s character and motivations, Herriman invites us to challenge the traditional norms of racial caricature prevalent in the early 20th century. The series prompts us to question not only the portrayal of Mose but also the broader implications of racial caricature in comics of that era. It challenges us to view “Musical Mose” as a work transcending its time and place.

Conclusion

George Herriman’s “Musical Mose” may have been a short-lived and relatively obscure comic strip. Still, it offers a treasure trove of insights into the complex relationship between race, identity, and performance in the early 20th century. Through the character of Mose and his daring escapades, Herriman invites readers to question the narrow confines of racial and ethnic caricature. The strip’s exploration of identity, the consequences of passing, and the blurring of racial boundaries make it a unique and thought-provoking piece of comic history.

As we reflect on “Musical Mose” and its creator, we must acknowledge the significance of George Herriman’s mixed-racial heritage in shaping the narrative. Herriman’s experiences and perspectives as a mixed-race person likely influenced the strip’s portrayal of Mose and his challenges. In “Musical Mose,” Herriman used humor and absurdity to encourage a reconsideration of deeply ingrained racial stereotypes, pushing the boundaries of what was acceptable and challenging the status quo.

Ultimately, “Musical Mose” may be a lesser-known work in George Herriman’s extensive portfolio. Still, it remains a powerful example of how art can be used to question societal norms and challenge preconceived notions. In an era where discussions about race and identity continue to evolve, “Musical Mose” reminds us of the enduring importance of art as a means of addressing complex and sensitive issues. George Herriman’s early comic strip is a testament to the transformative potential of humor and satire in pursuing social change.

Read also

• George Herriman (1880-1944): Discovering the Genius Behind Krazy Kat
• Krazy Kat (1913-1944): The Whimsical World of George Herriman
• Baron Bean (1916-1919): George Herriman’s Forgotten Comic Gem

FAQ: Understanding “Musical Mose” by George Herriman

1. What is “Musical Mose,” and who is George Herriman?

“Musical Mose” is an early American comic strip created by George Herriman, a cartoonist best known for his later critically acclaimed series, “Krazy Kat.” “Musical Mose” was Herriman’s first continuing series, published in Pulitzer’s New York World in 1902. The strip features Mose, a traveling black musician, who attempts to impersonate performers of different ethnicities in his recitals, often with humorous consequences.

2. How long did “Musical Mose” run?

“Musical Mose” was a short-lived series with only three or four strips.

3. What are the central themes of “Musical Mose”?

The strip explores themes of racial caricature and identity. Mose, despite the use of racial stereotypes such as oversized lips and blackened skin, continually changes his social identity as if they were stage costumes. He is portrayed as a working-class trickster who navigates various social identities with little regard for the consequences. This challenges the fixed racial hierarchies prevalent in late-19th and early 20th-century caricature in comics.

4. How does “Musical Mose” challenge racial caricature in comics?

“Musical Mose” prompts viewers to question the narrow confines of racial and ethnic caricature. Mose’s attempts to impersonate different ethnicities led to reconsidering the stereotypes commonly found in comics of that era. The strip challenges the preconceived notions of racial identity and the use of blackface minstrel traditions as shorthand for African Americans.

5. What makes Mose’s character intriguing?

Due to George Herriman’s mixed-racial heritage, Mose’s character becomes even more fascinating. Herriman’s racial background adds depth to the character’s struggles with identity. Mose’s wish for his color to fade and his willingness to risk discovery for the sake of art raise questions about whether Herriman was making a commentary on his own life.

6. How does “Musical Mose” differ from other contemporary comic strips?

“Musical Mose” stands out from its serial counterparts of the time, such as Richard Outcault’s “Pore Lil Mose” and William Marriner’s “Sambo and His Funny Noises.” The strip’s exploration of racial identity and its challenging of racial caricatures set it apart from other comics of its era.

7. How can “Musical Mose” be used to discuss racial caricature in early American comic strips?

“Musical Mose” provides a unique opportunity to discuss how cartoonists used racial stereotypes and caricatures as visual and verbal shorthand for African Americans during that time. It encourages a deeper exploration of identity, racial hierarchies, and the cultural context of early 20th-century comic strips.

8. Are there any related articles or resources for further exploration?

You can explore articles by scholars and journalists like Jeet Heer and Alexander Stern, which provide additional insights into George Herriman’s work and its connections to racial caricature. These resources can help you delve deeper into the complexities of “Musical Mose” and its implications.