My Old Kentucky Home
"My Old Kentucky Home, Good-Night!" is a ballad and sentimental minstrel song written by Stephen Foster, probably composed in 1852. It was published in January 1853 by Firth, Pond, & Co. of New York. Foster was likely inspired by Harriet Beecher Stowe's Uncle Tom's Cabin, as evidenced by the title of a sketch in Foster’s sketchbook, “Poor Uncle Tom, Good-Night!”
|"My Old Kentucky Home"|
|Genre||Minstrel song, Parlor song|
|Songwriter(s)||Stephen C. Foster|
|Composer(s)||Stephen C. Foster|
|Lyricist(s)||Stephen C. Foster|
Interpretations of the song vary widely. Frederick Douglass wrote in his 1855 autobiography My Bondage and My Freedom that the song "awakens sympathies for the slave, in which antislavery principles take root, grow, and flourish". However, the song’s publication as a minstrel song and inclusion in blackface minstrel shows, “Tom shows” (stagings of Stowe’s novel of varying degrees of sincerity and faithfulness to the original text), and other settings, have clouded its reception.
Creation and career impactEdit
The creation of the song "My Old Kentucky Home, Good-Night!" was one of Foster's sentimental minstrel song, so it reflects a shift toward interiority and romanticized images of enslaved people, in contrast with bawdy or comic representations of African Americans common in Foster's earlier songs and other early blackface minstrel songs. It also is an example of the common theme of the loss of home, which is prevalent throughout Foster's work. Foster was greatly inspired by Harriet Beecher Stowe's abolitionist novel Uncle Tom's Cabin, which appeared in bookstores in Foster's hometown of Pittsburgh, Pennsylvania in March 1852. The novel, written about the plight of an enslaved person in Kentucky, had a profound effect on Foster's future songwriting by altering the tone of his music to sympathize the position of the enslaved person. In his notebook, Foster penned the lyrics inspired by Stowe's novel, initially named "Poor Old Uncle Tom, Good-Night!" Foster ultimately removed references to Stowe's book, renaming the work, "My Old Kentucky Home, Good-Night!"
Some contend that Foster's song includes distinct Kentucky imagery from a visit to a Kentucky plantation owned by John Rowan in Bardstown, Kentucky. Foster's brother Morrison indicated in correspondence in 1898 that Foster was an "occasional visitor" to this plantation, Federal Hill. However, no contemporary evidence exists to confirm that Foster visited the plantation at or near the time of the song's composition, and the imagery in the song does not include any specific markers to Federal Hill. The Foster and Rowan family's close relationship appears to have been initiated through Stephen's sister Charlotte, who stayed with the Rowans at Federal Hill in 1828. While Charlotte lived with the Rowan family, Atkinson Hill Rowan made a proposal of marriage to her, which she ultimately declined. Charlotte died in the home of George Washing Barclay, a cousin of both families, with Atkinson Hill Rowan at her bedside.
The song "My Old Kentucky Home, Good-Night!" is one of many examples of the loss of home in Foster's work. Biographers believe that this common theme originated from the loss of Foster's childhood home, known as the "White Cottage", an estate his mother referred to as an Eden, in reference to the Garden of Eden. The family was financially supported by the family patriarch William Foster, who owned vast holdings, which were lost through bad business dealings that left the family destitute and unable to keep possession of the White Cottage; the family was forced to leave the estate when Stephen Foster was three years old. After years of financial instability and the sharing of memories of the White Cottage with Stephen by his parents and siblings, the impact of longing for a permanent home that was no longer available to him greatly influenced his writing.
Upon its release in 1853 by Firth, Pond & Company, "My Old Kentucky Home, Good-Night" grew quickly in popularity, selling thousands of copies. The song's popular and nostalgic theme of the loss of home resonated with the public and received support from some within the abolitionist movement in the United States. For example, African-American abolitionist Frederick Douglass promoted the song, among other similar songs of the time period, in his autobiography My Bondage and My Freedom as evoking a sentimental theme that promotes and popularizes the cause of abolishing slavery in the United States. Douglass commented, "They [My Old Kentucky Home, Good-Night!, etc.] are heart songs, and the finest feelings of human nature are expressed in them. [They] can make the heart sad as well as merry, and can call forth a tear as well as a smile. They awaken the sympathies for the slave", he stated, "in which anti-slavery principles take root and flourish".
However, Foster sold the work for use as a "plantation melody," or a sentimental minstrel song in the vein of "Old Folks at Home" or "Old Black Joe." The song was popular on the blackface minstrel stage and in melodrama through the nineteenth century. Frequently, the song was included in "Tom shows," stagings of Uncle Tom's Cabin. The song remained popular in amateur blackface minstrel shows through at least the first half of the twentieth century. While some of the shows (especially melodrama) in which "My Old Kentucky Home" depicted slavery as wrong and the enslaved people sympathetically, examples exists in which some of these shows hewed to the common demeaning traditions and tropes of blackface minstrelsy.
The song held popularity for over a decade and throughout the American Civil War. The song's reach throughout the United States and popularity has been attributed to soldiers of the war, who passed the tune from location to location during the war's tenure. The song remained popular through the nineteenth century. The typical reduction of the song's title from "My Old Kentucky Home, Good-Night!" to "My Old Kentucky Home" occurred after the turn of the century.
The song's first verse and chorus are recited annually at the Kentucky Derby. Colonel Matt Winn introduced the song as a Derby tradition. Historian Maryjean Wall writes that this “firmed up imagined notions of the antebellum South with the race.” Wall, along with other historians such as Emily Bingham and Anne Marshall, contextualize the celebration and enshrinement of "My Old Kentucky Home"—as a sentimental song about the antebellum period—within the broader turn towards romanticized imagery of the antebellum period during the early twentieth century. As early as 1930, Foster's song was played to accompany the post parade; the University of Louisville Marching Band has played the song for all but a few years since 1936. In 1982, Churchill Downs honored Foster by establishing the Stephen Foster Handicap. The University of Kentucky, University of Louisville, Murray State University, Eastern Kentucky University, and Western Kentucky University bands play the song at their schools' football and basketball games.
Kentucky state songEdit
During the first decades of the twentieth century, the song became increasingly popular nationwide and the state legislature of the Commonwealth of Kentucky sought to capitalize on the song's popularity by establishing it as Kentucky's state song. Historian Emily Bingham situates the renewed interest in tying Kentucky to the song to a broader effort during the Jim Crow period to rebrand the state along with the romanticized mythology of the Old South. Other modern historians describe this broader cultural and political realignment in Kentucky toward the Old South during the nadir of race relations.
In 1986, a Japanese youth group visiting the Kentucky General Assembly sang the song, using the original lyrics that included the word "darkies." Legislator Carl Hines subsequently introduced a resolution that would substitute the word "people" in place of "darkies" whenever the song was used by the House of Representatives. State Senator Georgia Davis Powers introduced a similar resolution in the Kentucky State Senate. Both chambers adopted the resolution.
Today, the song "My Old Kentucky Home" remains an important composition due to its role in the evolution of American songwriting and is an influential song in American culture. According to popular-song analysts, the appeal of the theme of 'returning home' is one in which listeners of "My Old Kentucky Home" are able to personally relate within their own lives. Many revisions and updates of the song have occurred throughout the past century, which have further ingrained the song in American culture. These revisions and a constantly adapting cultural landscape also complicate the song's legacy and meanings for different people.
"My Old Kentucky Home" was recorded many times during the early era of cylinder recordings. The Cylinder Audio Archive at the University of California (Santa Barbara) Library contains 19 commercial recordings of the song (in addition to several home recordings). In most cases, even those of the commercial recordings, the Archive is unable to determine the precise dates (or even years) of either their recording or their release, with some cylinders being dated only to a forty-year range from the 1890s to the 1920s. The earliest recording of "My Old Kentucky Home" for which the Archive was able to determine a precise year of release is from 1898 and features an unidentified cornet duo. However, the song is known to have been recorded earlier than that (in February 1894) by the Standard Quartette, a vocal group that was appearing in a musical that featured the song (making their recording perhaps the earliest example of a cast recording). No copy of that cylinder is known to have survived. And although cylinder recordings were more popular during the 1800s than disc records, some of the latter were being sold, mostly by Berliner Gramophone. A version sung by A.C. Weaver was recorded in September 1894 and released with catalog number 175.
The popularity of "My Old Kentucky Home" as recording material continued into the 20th century, despite the fact that the song was then more than fifty years old. In the first two decades of the century, newly established Victor Records released thirteen versions of the song (plus five more recordings that included it as part of a medley). During that same period, Columbia Records issued a similar number, including one by Margaret Wilson (daughter of U.S. president Woodrow Wilson). One of the major vocal groups of the day, the Peerless Quartet, recorded it twice, as did internationally known operatic soprano Alma Gluck. It was also recorded by various marching and concert bands, including three recordings by one of the most well-known, Sousa's Band, as well as three by the house concert band at Edison Records.
Although the frequency of its recording dropped off as the century progressed, "My Old Kentucky Home" continued to be used as material by some of the major popular singers of the day. Versions were recorded by Kate Smith, Bing Crosby, and Al Jolson. A version by operatic contralto Marian Anderson was released in Japan and Paul Robeson recorded his version for an English company while living in London in the late 1920s. The song continued to find expression in non-traditional forms, including a New Orleans jazz version by Louis Armstrong and a swing version by Gene Krupa. For a listing of some other recorded versions of the song, see External links.
In 2001, the National Endowment for the Arts and the Recording Industry Association of America promoted a list of the 365 "Songs of the Century" that best displayed "historical significance of not only the song but also of the record and artist". "My Old Kentucky Home" appeared on that list (the only song written by Foster to do so), represented by the 1908 recording of operatic soprano Geraldine Farrar (Victor Records 88238).
By the time commercial music began to be recorded, the verse melody of "My Old Kentucky Home" had become so widely known that recording artists sometimes quoted it in material that was otherwise unrelated to Foster's song. The 1918 song "Rock-a-Bye Your Baby with a Dixie Melody", recorded and popularized by Al Jolson, quotes the chorus phrase "weep no more my lady", and also makes reference to two other Foster songs. Henry Burr's 1921 recording of "Kentucky Home" quotes the verse melody in an interlude midway through the record. And vaudeville singer Billy Murray's 1923 recording of "Happy and Go-Lucky in My Old Kentucky Home" adds the melody in the record's finale. An earlier recording by Murray, 1915's "We'll Have a Jubilee in My Old Kentucky Home", takes the further step of incorporating a portion of Foster's melody (but not his lyrics) into each chorus. And a few decades earlier than that, a young Charles Ives, while still a student at Yale University in the 1890s, used Foster's melody (both the verse and the chorus) as a strain in one of his marches. Ives often quoted from Foster and musicologist Clayton Henderson has detected material from "My Old Kentucky Home" in eight of his works.
In the mid-1960s, songwriter Randy Newman used the verse of "My Old Kentucky Home" (with modified lyrics) as the chorus to his "Turpentine and Dandelion Wine". Newman recorded this adaptation for his 12 Songs album (1970, Reprise RS 6373) under the title "Old Kentucky Home". However, the adaptation had been recorded earlier at least twice. The first was by the Beau Brummels, who recorded it for their Triangle album (1967, Warner Brothers WS 1692). The second was by the Alan Price Set, who included it as the B-side to their "Love Story" single (1968, Decca F 12808). Since Newman's recording, the adaptation was covered several times more. The only version that charted was by Johnny Cash, who released it as a single from his John R. Cash album (1975, Columbia KC 33370). The single reached No. 42 on Billboard's country-music chart. Note that the various cover versions generally use slightly different titles, some adding "My" to Newman's title, others omitting "Old". Also, some use Newman's original title of "Turpentine and Dandelion Wine" as a subtitle. A more complete listing of these cover versions can be found in External links.
Appearance in mediaEdit
"My Old Kentucky Home" has appeared in many films, live action and animated, and in television episodes, in the 20th and 21st centuries.
The original title for the first draft of Margaret Mitchell's 1936 novel Gone with the Wind was "Tote The Weary Load", a lyric from "My Old Kentucky Home, Good-Night!" Scarlett O’Hara and Rhett Butler sing the song in Chapter 17, and the lyric "a few more days for to tote the weary load" appears in the text of the novel as Scarlett is returning to Tara. The inclusion of the song mirrors the novel's appeal to the romanticized myth of the Old South and the Lost Cause. In 1939, "My Old Kentucky Home" was featured in the film version of Gone With The Wind both instrumentally and with lyrics. In the movie, Prissy, played by Butterfly McQueen, sings the line, "a few more days for to tote the weary load".
Judy Garland sang "My Old Kentucky Home, Good-Night!" live on December 14, 1938, on the radio show, America Calling. She later covered it again on The All Time Flop Parade with Bing Crosby and The Andrews Sisters. On April 29, 1953, Garland headlined a Kentucky Derby week appearance in Lexington, Kentucky, named "The Bluegrass Festival" where she sang the song "My Old Kentucky Home", accompanied by a single violin.
In 1940, Bing Crosby sang "My Old Kentucky Home, Good-Night!" via radio broadcast with Leopold Stokowski conducting a symphony for the dedication of the Stephen Foster postage stamp release held in Bardstown, Kentucky, at My Old Kentucky Home.
Bugs Bunny sang the opening bars to this song in the original version of the 1953 Warner Brothers cartoon Southern Fried Rabbit. In the unedited version, Bugs is playing the banjo disguised in blackface to fool Yosemite Sam. Later releases omit this part due to negative racial stereotypes.
In 2010 the song was covered in The Simpsons, Season 21, Episode 13, "The Color Yellow". Marge and Lisa read from the footnotes of a cookbook written by Mabel Simpson in which she describes the escape of a slave, Virgil, who is assisted by Eliza Simpson. Virgil and Eliza find safe harbor in a circus operated by Krusty the Clown, who hides them from slave patrollers by disguising them as circus acts. Krusty asks what talents Virgil possesses, to which he replies that he has music talent and then performs the song, "My Old Kentucky Home" while playing violin. The song also appears in the episode "Rosebud", where a young George Burns sings the song's first line.
Johnny Depp, Lyle Lovett, David Amram and Warren Zevon covered the song "My Old Kentucky Home" at the tribute memorial of journalist Hunter Thompson in December 1996. One of Thompson's most notable pieces, "The Kentucky Derby Is Decadent and Depraved", in addition to Thompson being a native of Louisville, Kentucky, inspired the performers to cover the song for his tribute. The performance was recreated 9 years later in 2005 at midnight after Thompson's ashes were blasted from a cannon.
Lyrics by Stephen C. FosterEdit
My old Kentucky Home, good-night!
They hunt no more for the possum and the coon
- Richard Jackson (1974). Stephen Foster song book: original sheet music of 40 songs. Courier Dover Press. p. 177.
- "My old Kentucky home, good night | Digital Pitt". digital.library.pitt.edu. Retrieved June 7, 2021.
- Austin, William (1975, 1987 (2e)). Susannah Jeanie and the Old Folks at Home: Stephen Foster from his Time to Ours. Champaign: University of Illinois Press. Check date values in:
- "My Old Kentucky Home, Good Night!". 2008. Retrieved October 1, 2016.
- PressRoom (April 9, 2001). "American Experience on KET profiles "My Old Kentucky Home" author, Stephen Foster". KET. Archived from the original on May 27, 2012. Retrieved July 11, 2011.
- Douglass, Frederick. My Bondage and My Freedom: Part I- Life as a Slave, Part II- Life as a Freeman, with an introduction by James M'Cune Smith. New York and Auburn: Miller, Orton & Mulligan (1855); ed. John Stauffer, Random House (2003) ISBN 0-8129-7031-4.
- Foster, Charlotte. "University of Pittsburgh Digital Archives" (PDF). University of Pittsburgh Digital Archives. University of Pittsburgh. Retrieved February 23, 2017.
- Rowan, Atkinson Hill. "From A. Hill Rowan to Ann Eliza Foster, November 19, 1829" (PDF). University of Pittsburgh Digital Archives. University of Pittsburgh. Retrieved February 23, 2017.
- MacLowry, Randall. "American Experience, Stephen Foster". PBS.org. Public Broadcasting System. Archived from the original on November 26, 2015. Retrieved December 23, 2015.
- William Emmett Studwell (1997). The Americana song reader. Psychology Press. p. 110.
- Douglass, Frederick (1855). My Bondage, My Freedom. Miller, Orton & Mulligan. p. 462. Retrieved January 25, 2016.
- Thomas F. Gossett, Uncle Tom’s Cabin and American Culture (Dallas, Tex.: Southern Methodist University Press, 1985), 260-283.
- Clark, Thomas D. (February 5, 2015) . "The Slavery Background of Foster's My Old Kentucky Home". In Harrison, Lowell H.; Dawson, Nelson L. (eds.). A Kentucky Sampler: Essays from The Filson Club History Quarterly 1926–1976. Lexington, Kentucky: University Press of Kentucky. pp. 100–117. ISBN 9780813163086. Retrieved January 25, 2016.
- Nicholson, James (March 15, 2012). The Kentucky Derby, How the Run for the Roses Became America's Premiere Sporting Event. Lexington, KY: The University of Kentucky Press. ISBN 978-0-8131-3576-2.
- Maryjean Wall, How Kentucky Became Southern: A Tale of Outlaws, Horse Thieves, Gamblers, and Breeders (Lexington: University Press of Kentucky, 2010), 211.
- Anne Marshall, Creating a Confederate Kentucky: The Lost Cause and Civil War Memory in a Border State (Chapel Hill: University of North Carolina Press, 2010).
- Bingham, Emily (2019). "Emily Bingham, "'Let's Buy It:' Tourism and the My Old Kentucky Home Campaign in Jim Crow Kentucky"". Ohio Valley History. 19/3 (Fall 2019): 27–56.
- "My Old Kentucky Home: Official Song of the Kentucky Derby". Retrieved October 1, 2016.
- Kaiser, Carly (May 4, 2011). "My Old Kentucky Home". University Place Patch. Retrieved October 1, 2016.
- Shankle, George Earlie (1941) . State Names, Flags, Seals, Songs, Birds, Flowers, and Other Symbols (revised ed.). New York: H.W. Wilson. pp. 397–398.
- Preamble to a 1928 Act of the Kentucky legislatureShankle, George Earlie (1941) . State Names, Flags, Seals, Songs, Birds, Flowers, and Other Symbols (revised ed.). New York: H.W. Wilson. pp. 397–398.
- Maryjean Wall, How Kentucky Became Southern: A Tale of Outlaws, Horse Thieves, Gamblers, and Breeders (Lexington: University Press of Kentucky, 2010).
- Astor, Aaron. Rebels on the Border: Civil War, Emancipation, and the Reconstruction of Kentucky and Missouri. Baton Rouge: Louisiana State University Press, 2012.
- "Interview with Carl R. Hines, Sr". Louie B. Nunn Center for Oral History. University of Kentucky Libraries: Lexington. Retrieved June 18, 2016. Discussion of the episode begins approximately 82 minutes into the interview. Also see the contemporaneous reporting that appeared in the article written by Bob Johnson in the edition of March 12, 1986 of the Courier-Journal (page 18) and the Associated Press article that appeared in the edition of March 21, 1986 of the Lexington Herald-Leader (page A11). Hines' resolution was House Resolution 159 (1986); Powers' resolution was Senate Resolution 114 (1986).
- "Search Results: my+old+kentucky+home". UCSB Cylinder Audio Archive. UC Santa Barbara Library. November 16, 2005. Retrieved June 2, 2016.
- Columbia Phonograph Company 2813 (cylinder 14763 at the Cylinder Audio Archive).
- Brooks, Tim (2004). Lost Sounds: Blacks and the Birth of the Recording Industry, 1890-1919. Urbana: University of Illinois Press. ISBN 0-252-02850-3. The Standard Quartette is discussed in Chapter 6 (pages 92-102). The February 1894 recordings are discussed at pages 95-97.
- "Berliner 175 (7-in. single-faced)". Discography of American Historical Recordings. UC Santa Barbara Library. Retrieved June 2, 2016. Note that Berliner issued "My Old Kentucky Home" several times through 1899, with different singers. These re-recordings were released under the same catalog number as the original but with differently-suffixed matrix numbers. For example, the version sung by Weaver has matrix number 175-Z, whereas a later version by Irish tenor George J. Gaskin (recorded in 1897) has matrix number 175-ZZ.
- "Search Results: my+old+kentucky+home". National Jukebox. Library of Congress. Retrieved June 3, 2016.
- Columbia Records ("Symphony Series") A-2416 (1917)
- Indestructible Records 694 (1908) and Everlasting Records 1077 (1909)
- Victor Records 74386 (1914) and 74468 (1916).
- Berliner 129 (1898), Victor 3264 (1901) and Victor 2481 (1903). The two Victor recordings were labeled "fantasies".
- Edison Gold Moulded 8818 (1904), Edison Amberol 87 (1909), and Edison Blue Amberol 2239 (1914), all credited to the Edison Concert Band.
- MGM Records 30474, part of Smith's Songs of Stephen Foster album (MGM E-106)
- Crosby's recording appeared as the B-side on two of his singles—"'Til Reveille" (Decca Records 3886, 1941) and "De Camptown Races" (Decca Records 25129, 1947). It also appeared in his Stephen Foster album (Decca Records A-440 and A-482, both 1946).
- Decca Records 27365 (circa 1950)
- Victor Co. of Japan SD-4. This is the same recording that was released by Victor Records in the United States with catalog number 18314. The recording and release dates are unclear, but the physical characteristics of the label for the Japanese release (red label, circular non-scroll border, etc.), as well as the numbering of the American release, suggest that both were issued in the very early 1940s (and certainly before the outbreak of war between Japan and the United States). The recording later appeared on the 1951 LP Great Combinations (RCA Victor LM 1703).
- His Master's Voice B.3653. The recording's entry at the British Library gives the recording date as October 2, 1928 (see item number BLLSA4329674 at www.explore.bl.uk).
- On the album Satchmo Plays King Oliver (Audio Fidelity Records AFSD 5930, 1960)
- Columbia Records 35205 (1939)
- "RIAA, NEA Announce Songs of the Century" (Press release). Recording Industry Association of America (RIAA). March 2001. Archived from the original on March 24, 2012. Retrieved March 3, 2013.
- Victor Records 18821. Written by Harold Weeks and Abe Brashen.
- Victor Records 19240. Written by Clarence Gaskill. Another version of "Happy and Go-Lucky ..." was recorded a few months later by The Happiness Boys, who extended Murray's arrangement by quoting "My Old Kentucky Home" as a countermelody not just in the finale, but also in other parts of the song. That version was issued on Federal Records 5376 (the company not to be confused with the Cincinnati-based Federal Records that operated in the 1950s). It was also issued on Sears, Roebuck's Silvertone label, with catalog number 2376.
- Edison Blue Amberol Records 2748. Written by Walter Donaldson.
- Henderson, Clayton W. (2008) . The Charles Ives Tunebook (second ed.). Bloomington: Indiana University Press. pp. 158–159. ISBN 978-0-253-35090-9. The march is identified as Ives' third (i.e., "March No.3"). It apparently had not been recorded until 1974, when it appeared on the Yale Theater Orchestra's Old Songs Deranged (Columbia Masterworks M 32969). Because Ives added the Foster quote to a work he had already composed, there are two versions of that march—one that incorporates the melody and one that does not. The version that incorporates the melody also appears on the Detroit Chamber Winds' 1993 album Remembrance: A Charles Ives Collection (Koch International Classics 7182).
- "John R. Cash (awards)". AllMusic.com. Retrieved May 8, 2016.
- Horwitz, Tony (1999). Confederates in the Attic. Random House. p. 306. ISBN 9780679758334. Retrieved June 23, 2016.
- Mitchell, Margaret. Gone with the Wind. 1936. Edition: Hamilton Books, 2016. GoogleBooks pt.258.
- Edge, Lynn (October 8, 1989). "'GWTW' start toted the load during filming" (60). Star-News. Retrieved May 9, 2016.
- Haines, Kathryn Miller. “Stephen Foster's Music in Motion Pictures and Television," American Music 30/3 (2012): 373-388.
- Schechter, Scott (2006). Judy Garland: The Day-by-Day Chronicle of a Legend. Taylor Trade Publishing. p. 448. ISBN 978-1-4616-3555-0.
- Hibbs, Dixie (198). Bardstown. Bardstown, Kentucky: Arcadia. p. 78. ISBN 9780738589916. Retrieved June 23, 2016.
- Eden, Barbara (April 5, 2011). Jeanie Out of the Bottle. Random House. ISBN 9780307886958. Retrieved May 9, 2016.
- "Bundle Up With Dean". The Golddiggers. The Golddiggers. November 18, 2012. Retrieved May 9, 2016.
- burgermeister meisterburger (September 20, 2013), Mad Men: Kentucky Derby, Roger Sterling sings in blackface, Peggy Olson gets high, retrieved June 10, 2018
- Jake. "The Color Yellow/Transcript". Wikisimpsons. Retrieved September 17, 2017.
- "Simpsons scripts: Rosebd (1F01) — Simpsons Crazy". Simpson Crazy. Retrieved September 16, 2020.
(sings) Bwa bwa bwa bwa, Oh the sun shines bright on my old Kentucky Home, Bwa bwa bwa bwa... (spoken) Trust me, it'll be funny when I'm an old man.
- "Amram with Johnny Depp, Warren Zevon: Hunter S. Thompson Tribute". Youtube. Retrieved April 16, 2016.
- Aldrich, Mark. A Catalog of Folk Song Settings for Wind Band, p. 74 (Hal Leonard Corporation, 2004).
- Foster, Stephen. Stephen Foster Song Book: Original Sheet Music of 40 Songs, p. 67 (Courier Corporation, 1974).
- Clark, Thomas D. (January 1936). "The Slavery Background of Foster's My Old Kentucky Home". Filson Club History Quarterly. 10 (1). ISBN 9780813163086. Retrieved November 29, 2011.
|Wikisource has original text related to this article:|
|Wikimedia Commons has media related to Stephen Foster My Old Kentucky Home.|
- My Old Kentucky Home (instrumental) as played by one of the University of Kentucky Bands
- Geraldine Farrar's 1908 recording