Harry B. Smith was the most prolific writer for the American musical theatre in history, working with every major American composer between 1880 and 1920. This examination of his work is thus highly instructive of the history of the American musical.

Filmmaker, musicologist, painter, ethnographer, graphic designer, mystic, and collector of string figures and other patterns, Harry Smith (1923-1991) was among the most original creative forces in postwar American art and culture, yet his life and work remain poorly understood. Today he is remembered primarily for his Anthology of American Folk Music (1952)--an idiosyncratic collection of early recordings that educated and inspired a generation of musicians and roots music fans--and for a body of innovative abstract and nonnarrative films. Constituting a first attempt to locate Smith and his diverse endeavors within the history of avant-garde art production in twentieth-century America, the essays in this volume reach across Smith's artistic oeuvre. In addition to contributions by Paul Arthur, Robert Cantwell, Thomas Crow Stephen Fredman, Stephen Hinton, Greil Marcus, Annette Michelson, William Moritz, and P. Adams Sitney, the volume contains numerous illustrations of Smith's works and a selection of his letters and other primary sources.

'A kind of epic poem, one that moves in circular fashion from passionate denunciation to intense autobiographical reflection ... should be required reading for every MP, peer, councillor, civil servant and commentator. The fury and sense of powerlessness that so many people feel at government policy beam out of every page.' The Guardian 'It is not enough to read Harry's record of the struggles and hopes of a generation – we have to re-assert his principles of common ownership and the welfare state. If Harry can do it, we should too!' Ken Loach, Director of I, Daniel Blake 'As one of the last remaining survivors of the Great Depression and the Second World War, I will not go gently into that good night. I want to tell you what the world looks like through my eyes, so that you can help change it...' In November 2013, 91-year-old Yorkshireman, RAF veteran and ex-carpet salesman Harry Leslie Smith's Guardian article – 'This year, I will wear a poppy for the last time' – was shared over 80,000 times on Facebook and started a huge debate about the state of society. Now he brings his unique perspective to bear on NHS cutbacks, benefits policy, political corruption, food poverty, the cost of education – and much more. From the deprivation of 1930s Barnsley and the terror of war to the creation of our welfare state, Harry has experienced how a great civilisation can rise from the rubble. But at the end of his life, he fears how easily it is being eroded. Harry's Last Stand is a lyrical, searing modern invective that shows what the past can teach us, and how the future is ours for the taking. 'Smith's unwavering will to turn things around makes for inspirational reading.' Big Issue North '[With] sheer emotional power ... Harry Leslie Smith reminds us what society without good public services actually looks and feels like.' New Statesman

Smith's narrative relates not only his personal experiences, but also includes many anecdotes about other Kentucky slaves and masters. Many of his stories are humorous and pleasant, relating to sporting adventures and leisure activities. Others, however, relate instances of neglect, violence, and the mistreatment of slaves by their masters and other white authorities. Although Smith's narrative focuses primarily on slave family life on large plantations, it also highlights the interactions between whites and blacks, and the dynamics of those relationships.

Cultural Studies. This collection of interviews spans Harry Smiths long and influential life in American arts and letters. They cover a quarter-century, touching on the full range of Smiths activity as a groundbreaking experimental filmmaker, obsessive collector, folk music anthologist, visionary painter, student of Native American lore, anthropologist, cosmographer, alchemist, hermetic scholar, occultist, autodidact, classic American eccentric, and all-around explorer of the possibilities of human consciousness and creativity. Jordan Belson writes, "Think of the Self Speaking is the next best thing to being with Harry himself -- perhaps better, certainly safer. The interviews are remarkably similar to his collage films. A brilliant mind unhinged." Includes an introduction by Allen Ginsberg.

Released in 1952, The Anthology of American Folk Music was the singular vision of the enigmatic artist, musicologist, and collector Harry Smith (1923–1991). A collection of eighty-four commercial recordings of American vernacular and folk music originally issued between 1927 and 1932, the Anthology featured an eclectic and idiosyncratic mixture of blues and hillbilly songs, ballads old and new, dance music, gospel, and numerous other performances less easy to classify. Where previous collections of folk music, both printed and recorded, had privileged field recordings and oral transmission, Smith purposefully shaped his collection from previously released commercial records, pointedly blurring established racial boundaries in his selection and organisation of performances. Indeed, more than just a ground-breaking collection of old recordings, the Anthology was itself a kind of performance on the part of its creator. Over the six decades of its existence, however, it has continued to exert considerable influence on generations of musicians, artists, and writers. It has been credited with inspiring the North American folk revival—"The Anthology was our bible", asserted Dave Van Ronk in 1991, "We all knew every word of every song on it"—and with profoundly influencing Bob Dylan. After its 1997 release on CD by Smithsonian Folkways, it came to be closely associated with the so-called Americana and Alt-Country movements of the late 1990s and early 2000s. Following its sixtieth birthday, and now available as a digital download and rereleased on vinyl, it is once again a prominent icon in numerous musical currents and popular culture more generally. This is the first book devoted to such a vital piece of the large and complex story of American music and its enduring value in American life. Reflecting the intrinsic interdisciplinarity of Smith’s original project, this collection contains a variety of new perspectives on all aspects of the Anthology.