Tracing Kentucky's unusual history through its early days as the rough-and-tumble frontier and its settling down and growing up in dozens of directions, "Only in Old Kentucky" offers a series of novel and fascinating stories of bygone days from Cadiz to Versailles. Kentucky's saltpeter reserves take a backseat to coal mining today but played a critical role in the military engagements of yesteryear. Devil John Wright morphed from a Civil War soldier to a circus performer to a legend. Dueling so shaped the early commonwealth that to this day, officials must take an oath promising to refrain from doing so. Join historian and professor Marshall Myers as he tracks down Kentucky's hidden oddities and curiosities, reviving and celebrating the most bizarre and captivating stories Kentucky history has to offer.

The long journey of an American song, passed down from generation to generation, bridging a nation’s fraught disconnect between history and warped illusion, revealing the country's ever evolving self. MY OLD KENTUCKY HOME, from its enormous success in the early 1850s, written by a white man, considered the father of American music, about a Black man being sold downriver, performed for decades by white men in blackface, and the song, an anthem of longing and pain, turned upside down and, over time, becoming a celebration of happy plantation life. It is the state song of Kentucky, a song that has inhabited hearts and memories, and in perpetual reprise, stands outside time; sung each May, before every Kentucky Derby, since 1930. Written by Stephen Foster nine years before the Civil War, “My Old Kentucky Home” made its way through the wartime years to its decades-long run as a national minstrel sensation for which it was written; from its reference in the pages of Margaret Mitchell’s Gone with the Wind to being sung on The Simpsons and Mad Men. Originally called “Poor Uncle Tom, Good-Night!” and inspired by America’s most famous abolitionist novel, it was a lament by an enslaved man, sold by his "master," who must say goodbye to his beloved family and birthplace, with hints of the brutality to come: “The head must bow and the back will have to bend / Wherever the darky may go / A few more days, and the trouble all will end / In the field where the sugar-canes grow . . .” In My Old Kentucky Home, Emily Bingham explores the long, strange journey of what has come to be seen by some as an American anthem, an integral part of our folklore, culture, customs, foundation, a living symbol of a “happy past.” But “My Old Kentucky Home” was never just a song. It was always a song about slavery with the real Kentucky home inhabited by the enslaved and shot through with violence, despair, and degradation. Bingham explores the song’s history and permutations from its decades of performances across the continent, entering into the bloodstream of American life, through its twenty-first-century reassessment. It is a song that has been repeated and taught for almost two hundred years, a resonant changing emblem of America's original sin whose blood-drenched shadow hovers and haunts us still.

Kentucky—land of bluegrass, horse racing, bourbon, and . . . murder. In Murder in Old Kentucky: True Crime Stories from the Bluegrass, Keven McQueen recounts dark and disturbing tales from the pages of Kentucky history, including the 1825 murder of Col. Solomon Sharp—a sordid affair that inspired Edgar Allan Poe and Robert Penn Warren—and the 1881 Ashland Tragedy, a heartbreaking murder of three innocent teenagers. This revised and expanded edition includes the story of a family terrorized by an arsonist who massacred eleven of their members and burned the property of even more, the tale of a husband and wife found shot in each other's arms with a life-sized photo of another man between them, and many more deaths that made headlines. Meticulously researched and written with McQueen's trademark humor, Murder in Old Kentucky will captivate any fan of true crime or Kentucky history.

A drive straight across the Bluegrass State takes nearly eight hours. But that would bypass all the worthwhile distractions between Paw Paw in Pike County and the Kentucky Bend of the Mississippi River in Fulton County. Treasures like Abraham Lincoln's boyhood home that rests inside a Greek-style temple. Or the Jefferson Davis monument rising from a field in Fairview. From rip-roaring barn dances in Rabbit Hash to the silent reverence of the monks at the Abbey of Gethsemani, the Commonwealth is chock-full of timeless landmarks. Join native Kentuckians Cameron M. Ludwick and Blair Thomas Hess as they explore all the amazing and irreplaceable things that make the state one of a kind.

The long journey of an American song, passed down from generation to generation, bridging a nation’s fraught disconnect between history and warped illusion, revealing the country's ever evolving self. MY OLD KENTUCKY HOME, from its enormous success in the early 1850s, written by a white man, considered the father of American music, about a Black man being sold downriver, performed for decades by white men in blackface, and the song, an anthem of longing and pain, turned upside down and, over time, becoming a celebration of happy plantation life. It is the state song of Kentucky, a song that has inhabited hearts and memories, and in perpetual reprise, stands outside time; sung each May, before every Kentucky Derby, since 1930. Written by Stephen Foster nine years before the Civil War, “My Old Kentucky Home” made its way through the wartime years to its decades-long run as a national minstrel sensation for which it was written; from its reference in the pages of Margaret Mitchell’s Gone with the Wind to being sung on The Simpsons and Mad Men. Originally called “Poor Uncle Tom, Good-Night!” and inspired by America’s most famous abolitionist novel, it was a lament by an enslaved man, sold by his "master," who must say goodbye to his beloved family and birthplace, with hints of the brutality to come: “The head must bow and the back will have to bend / Wherever the darky may go / A few more days, and the trouble all will end / In the field where the sugar-canes grow . . .” In My Old Kentucky Home, Emily Bingham explores the long, strange journey of what has come to be seen by some as an American anthem, an integral part of our folklore, culture, customs, foundation, a living symbol of a “happy past.” But “My Old Kentucky Home” was never just a song. It was always a song about slavery with the real Kentucky home inhabited by the enslaved and shot through with violence, despair, and degradation. Bingham explores the song’s history and permutations from its decades of performances across the continent, entering into the bloodstream of American life, through its twenty-first-century reassessment. It is a song that has been repeated and taught for almost two hundred years, a resonant changing emblem of America's original sin whose blood-drenched shadow hovers and haunts us still.

This lively memoir recounts the story of a determined woman who led a remarkable life in the highest circles of power in both state and national politics. Catherine Conner spent her formative years on a farm named "Solitude," located outside of Bardstown. Her father, who taught her early to ride and swim, told the young woman, "I can't teach you how to be a lady, but I can teach you how to behave like a gentleman." She was weaned on a secret "early breakfast" of bourbon and milk toddies that her father brought to her every morning. Though she enjoyed privilege, Conner also witnessed the harsher sides of rural life. Those experiences markedly shaped the personality of a woman who would become the youngest National Democratic Committeewoman and would subsequently serve in FDR's inner circle. Conner began her political career in Kentucky under the tutelage of J. Dan Talbott of Bardstown, heading the successful effort to have Federal Hill, better known as "My Old Kentucky Home," preserved as a state park, which has now become one of the most popular in Kentucky. When local leaders proved only mildly supportive of the project, Conner devised a campaign in 1921 that raised $45,000 by having schoolchildren all over the state drop their pennies into a cardboard replica of the famous home. She acted as a special assistant to Harry Hopkins for five years, helping set up departments to carry out New Deal programs and lobbying. She befriended many of the shapers of the 20th Century, including Senator Sam Rayburn, A.B. "Happy" Chandler, and Senator Harry Byrd of Virginia. Throughout her life, Conner witnessed remarkable events. She saw the Hindenburg crash, met Amelia Earhart, and had Cary Grant show her how to gut a Thanksgiving turkey.