Table of Contents

Chapter 1: Pioneer Elites
Chapter 2: Foreclosure and the Death of Charlotte
Chapter 3: All Up and Down the Whole Creation
Chapter 4: Schooling in Brother William’s Sunshine
Chapter 5: At Home in Allegheny
Chapter 6: Musical Bookkeeper
Chapter 7: The Awakening in Cincinnati
Chapter 8: Non-Companionate Marriage
Chapter 9: “Swanee River,” E. P. Christy, and Sentimental Minstrelsy
Chapter 10: Shiras and the Antislavery Impulse
Chapter 11: Piano Girls and Parlor Songs
Chapter 12: Hoboken and Deaths in the Family
Chapter 13: The Buchanan Glee Club
Chapter 14: Royalties Sellout
Chapter 15: New York “Potboilers”
Chapter 16: War Songs and Copperhead Relatives
Chapter 17: The Foster – Cooper “Song Factory”
Chapter 18: Concert Saloons and Variety Music
Chapter 19: Last Days on the Bowery
Chapter 20: Accidental Death or Suicide?
Epilogue: What Came Afterwards

About the Author

JoAnne O’Connell has a background in history and classical vocal music. She earned her PhD at the University of Pittsburgh where she began researching her revisionist biography of the Pittsburgh born composer Stephen Collins Foster. She has taught at colleges and universities in Pennsylvania and Maryland, and currently spends her time researching and writing.

Reviews

Almost everyone knows something about Stephen Foster (1826–64), but unfortunately much of that information is either incorrect or vastly oversimplified. Many believe that Foster, the first American popular songwriter to make his living entirely from composing, was a Southerner. In fact Foster lived most of his life near Pittsburgh. Everyone knows he wrote minstrel and plantation songs that are now considered racist, but few know that he also wrote songs in support of Abraham Lincoln and the Union cause, not to mention sentimental parlor songs, comic songs for the stage, and hymns. O’Connell’s rich retelling of Foster’s story covers all this. Foster’s brother, Morrison Foster, destroyed hundreds of family letters, leaving wide gaps in the songwriter’s life story. O’Connell fills those gaps by examining musical, political, economic, and social writings of the day, and she addresses the thorny issues of race and gender. She refutes earlier claims that nearly all of Foster’s compositions after 1860 were inferior, and dares to speculate on the mysterious circumstances of Foster’s untimely death. This beautifully written biography provides important new insights into the complex life of one of America’s most controversial popular songwriters.

Summing Up: Highly recommended. Upper-division undergraduates through faculty; general readers.
*CHOICE*

Stephen Foster (1826–64) is often remembered as a writer of plantation songs, but researcher O’Connell describes him as a much more diverse composer. The author’s dense but fascinating book puts the life of Foster and his family in context as it relates to U.S. cultural and political history. This is particularly relevant to Foster’s works because his pieces were often autobiographical. Details of dealings with parents, siblings, spouse Jane McDowell, and publishers are described in great length, as are the many tragedies through deaths and financial distress experienced by the Foster family. The unhappiness of his marriage was in part caused by his alcoholism, which also affected his work. Foster’s political views were often hidden, and therefore, his sympathy for slaves was often unknown. He embraced minstrel songs until they were widely recognized as insulting and then abandoned them for campaign and parlor songs, variety, and music hall songs. VERDICT All readers interested in Foster, professional or amateur musicians or historians included, will delight in the perspective taken by O’Connell that the man was much more than the few songs for which he is remembered.
*Library Journal*