Welcome to the New York Times Popcasts, you're unexpected, unbidden, and more or less

unnecessary.

With music news and criticism, I'm your host John Garamonica.

You ever just vibe, just like being a good mood, be open-hearted, feel the endless

possibilities of the universe, radiating both out of you and into you.

That happens to me sometimes.

You may be surprised to know that, but that does actually happen to me sometimes.

This week's episode, I want to talk about a musician who has had that effect on me recently,

and that is Beverly Glenn Copeland.

You may have seen, over the last maybe 18 months or two years, a resurgence of attention

around Copeland is, I guess we would think of the music in terms of New Age and the

mid-80s.

He also made folk records in the early 70s, has a very, very rich and interesting personal

story, but also plenty of people have rich and interesting personal stories.

For me, the music that Beverly Glenn Copeland made, especially on the keyboard fantasies,

which is a record from 1906, I believe, is just, I don't know, it just shines.

You know, you're very rarely hear me tripped up for words on podcasts, but there is something

just essential and centering about the music, and I felt like the story and the music are

so kind of unusual and exceptional that I wanted to put together in episode.

So here we are.

We are going to talk first to Taja Cheek.

Taja is an associate curator at MoMA PS1, who put on the first Beverly Glenn Copeland

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