The Barlow Brothers were one of the best-known song and dance teams in minstrelsy. In 1867 they were performing at the Bowery Theatre, New York City.
In 1871 they were with Morris Brothers Minstrels, closing February 3, 1872; in September, the following year, they joined Simmons and Slocum’s Minstrels in Philadelphia; they did a plantation song and dance turn there which they called “Quit Dat”: perhaps most of us picture that act. April 10, 1877, at Cynthiana, Ky., saw the first performance of Barlow Brothers Minstrels, an organization that toured the country for about fifteen years.
The Barlow Brothers were with Harrigan and Hart’s Company in 1882; their last joint minstrel engagement was with Ed. Bartlett’s California Minstrels, November and December, 1898.
The following season brother Bill put in at Dumont’s Minstrels in Philadelphia, where he did an act with that “prince of pianists,” Tom Waters.
James Barlow (Arthur), was born at Mount Savanage, Md.; he died at Roscoe, Pa., August 4, 1900; age 51 years.
William Barlow (Arthur), is at present in retirement in Pittsburgh, Pa.
Billy Arnold (Wm. Henry Garrett Arnold) made his first appearance at the Louisville, Kentucky Opera House, doing a sand jig dance at the tender age of eight years, and says he has been dancing ever since—with occasional interruptions for food and sleep.
About 1865 he doubled with his brother Amos, doing songs and dances; and in 1873, the alliance was further strengthened by the addition of the youngest brother, Frank, being known as the Three Arnold Brothers; Eugene Stratton became the fourth “brother” a few years later, and together they played the principal variety companies of the country.
The three Arnolds were with the original Haverly’s Mastodons at the opening at the Adelphi Theatre, Chicago, October 21, 1878; later Billy Arnold’s own minstrels took the road, and he has been with several prominent organizations since, notably Hooley’s Minstrels in 1881, and Billy Rice and Hooley’s Minstrels in 1882.
Billy Arnold is best known to the public as a great tambourine manipulator, and was the acknowledged champion as early as 1877; his feat of spinning two tambourines at one time was invariably encored during the overture on the first part.