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. Recording history "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