The Beatific Re-emergence of Beverly Glenn-Copeland
For decades, Beverly Glenn-Copeland made music heard by a precious few. In the early 1970s, he trained in classical music performance, and then released a couple of folk albums. In the 1980s, he made new age keyboard music. For the most part, he worked in children’s television.
That music has been rediscovered now. Glenn-Copeland began performing for enthusiastic audiences a few years ago, and his music is largely back in print. For Glenn-Copeland, who is transgender, this acclaim has arrived in an era that is far more welcoming than the one in which he was raised.
On this week’s Popcast, a conversation about Glenn-Copeland’s music; his winding path to a receptive, ready audience; and how the right music can be a bulwark against cynicism and trauma.
Taja Cheek, an associate curator at MoMA PS1 and a musician who performs as L’Rain
Mina Tavakoli, who writes about music for Pitchfork and The Washington Post
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