OF THE EXPRESSION "JIM CROW.'

Colonist, Issue 18, 22 December 1857, Page 4

OF THE EXPRESSION "JIM CROW.'

The New Orleans Picayune states- that, a few years ago, Thomas D. Rice, now the famous negro comedian, was an actor in a Western theatre; and though he did some things cleverfy, he was particularly remarkable for nothing but being the best dressed man in the company. .An original piece was got up, in which Rice was persuaded to do the character of a negro, much against his will. "He consented only under the stipulation that he should have permission to introduce a negro song of his own. Rice was fond of riding, and frequently visited a stable in town where-there was a very droll negro ostler, who used to dance grotesquely, aad sing oddfragments of a song about one Jinf Crow. Very little difficulty was found.in transforming the ostler into a. tutor, arid in half an hour Rice was master of the symphony, melody* and all the steps, words, and drollery of the far-famed and irresistible * Jim Crow!' The evening for the debul of the new play came on, and never did Kemble or Talma study more intensely over the-effect of costume than did Rice in dressing for his negro part on this occasion. He had easily contrived to throw together a few verses, with witty local allusions, and to heighten the extravagance of the dance to its greatest extent of grotesque absurdity. The play commenced, and went on, dragging heavily and lamely—Rice himself failing to: stir up Jthe drowsy audienGe-with his clumsily-writ-ten negro part until Ihethird &cty where the song came in. '•■■■•■ vf;« r-^\]f: rJ;¥*/■': ■■■■-■■ Utter condemnation was; lowering ominously over the 'piece, and the actors had already pronounced it a dead failure, when the hitherto silent and gloomy green-room was startled by a tumultuous round of cheers breaking but suddenty in ♦ front.' 'What can that be ?' said the manager, pricking up his ears. ~ Another verse of the song was sung, with the extravagant dancing, • accompaniment, and the house shook with still more: violent applause. . , ' What -is' that?" said the manager. ' Who's on the stage V * Rice is singing a negro song,' was the rep)y'Oh, that's it, eh!' said the manager, who was a 'stickler for the 'legitimate,'and conchided that an audience which could applaud such a thing would be just as likely to hiss it the next, moment. But the new song continued to call down expressions of pleasure that could not by any means be mistaken; and, at its conclusion, the. manager bounced out of the green-rroom, and down to* P.S.,', to listen to the iloudest encore he ever heard in his theatre. , The play was announced again, but, after two or three representations, it was discovered that the song was all the audience wanted, and bo Jim Crow emerged trium-

phant from theJ ashes.of a damnectplay, to: delight. Europe; and America witK~; • ; " Turn about an'- wheel about, : '.'" An' do just so; .An' eb'ry time I Avheel about, . .' I junip Jim Crow! . , . " A heah-heah-tphpoh .'"■ Rice soon found his way to New York, and Hamblin was not long in snapping up the new card, which he made to tell to as handsome a tune as any other that the great caterer ever played upon the Bowery boards. ; " Fortune brings in some boats that are not steered;" and when Thomas B. Rice was playing William Tell in Cherry -street, New York, he little dreamed*of ever making a fortune by singing1 Jim Grow !