American Gods is an American television series developed by Bryan Fuller and Michael Green for Starz, based on the novel of the same name by author Neil Gaiman. The series focuses on Shadow Moon, a man serving three years in prison. With only days remaining in his sentence, Shadow is given an unexpected early release after a personal tragedy. Shadow finds himself next to a man named Wednesday, who offers Shadow a job. Wednesday appears to be nothing but a con artist who needs Shadow as a bodyguard, but is in fact a deity. Wednesday is making his way across America, gathering all the old gods, who have now incorporated themselves into American life, to confront the New Gods, including Media and Technology, who grow stronger. The score to American Gods was composed by Brian Reitzell (Lost in Translation, Hannibal). As eclectic and mercurial as the beloved subject matter of the series, the music is a perfect companion to the visuals on screen yet stands tall in its own right. Original songs written for the series and sung by Mark Lanegan and others also included.
It was always going to be a dangerous mission. Trevor Churchill’s brainchild, THE GOLDEN AGE OF AMERICAN POP, had been in development for some time and the prototype was about to be launched into the fray with a bundle of seemingly undifferentiated repertoire. The potential embarrassment factor was high with risk of heavy flak on the way and snipers on the ground in the landing zone. Trevor was calling for volunteers. There was a lot of nervous shuffling among the ranks. Some of the lads took to studying their toecaps, while others took an inordinate interest in the state of their cuticles, or tried to look inconspicuous by melting into the background.
This program offers three lively, colorful, and captivating orchestral works by two United States composers, born almost a century apart. These pieces exhibit the fruitful exchange and flow of musical material between North and South America that has long played a role in popular music, apparent not only in commercial song and dance music using Latin American melodies and rhythms but also in early jazz and blues where tango rhythms are so often heard, as in W. C. Handy's St. Louis Blues. And both Gottschalk in the 1850s, close to the beginning of a creative American musical tradition, and Gould in the 1950s, when such a tradition had flowered considerably, show a combination of seriousness of approach with a popular touch.