Album #8: The Nitty Gritty Dirt Band, ‘Will the Circle Be Unbroken’

During a long reporting trip to Washington and Baltimore in 2002, I began listening to WAMU, which at that time played a lot of bluegrass — not the sort of thing I normally liked (or so I thought). But as I was driving around from interview to interview, I started to enjoy what I was listening to. After I got back home, I started listening to the WAMU internet stream on occasion.

That led me to check out  the Nitty Gritty Dirt Band’s 1972 album “Will the Circle Be Unbroken,” a 38-song compilation starring some of the great bluegrass and old-time country stars of the 1940s, ’50s and ’60s. As this Wikipedia article explains, many of these folks’ careers were on the decline, supplanted by the slick Nashville sound that eventually morphed into (God help us) contemporary country music. By contrast, there is a real sense of authenticity to “Circle,” an album of traditional music about God, death and heartbreak, with a backdrop of virtuoso playing by guitarist Doc Watson, banjo player Earl Scruggs and fiddler Vassar Clements. Many of the songs are instrumentals, and the musicianship is so stunning that it sounds like bebop from an alternate universe.

The album cover is a real period piece, depicting the American and Confederate flags and a picture of an unnamed military officer. Obviously that would never fly today. But in the ’70s, there was still quite a bit of Confederate nostalgia infecting the culture, and the Nitty Gritty Dirt Band — a country-rock band from Southern California — was not immune. Around the same time, the Band was recording “The Night They Drove Old Dixie Down,” an ode to the Confederacy that was an enormous hit for Joan Baez, just to give you an idea of how pervasive it was.

Of all the guest stars on “Circle,” my two favorites are Mother Maybelle Carter, from the original Carter Family, and Roy Acuff, who leads on two of the strangest, most intense songs on the album. “The Precious Jewel,” which Acuff wrote, is a weeper about a young love who’s gone on to her reward in heaven. “Wreck on the Highway,” written by Dorsey Dixon, and first recorded by Acuff in 1942, is even wilder. Here’s a taste:

There was whiskey and blood all together
Mixed with glass where they lay
Death played her hand in destruction
But I didn’t hear nobody pray

Acuff’s singing is a revelation — a ragged, full-throated yowl that stands in contrast to the polite vocalizing on most of the album. Bruce Springsteen was so impressed by “Wreck on the Highway” that he wrote a completely different song by the same name — one of his finest, which captures the bleakness of its predecessor if not its weird mixture of piety and violence.

Maybelle Carter was a member of the first and second iterations of the Carter Family as well as the mother of June Carter Cash. She’s the only woman on the album, and her participation gives the entire project the feel of a last roundup. She takes the lead on “Keep on the Sunny Side,” “I’m Thinking Tonight of My Blue Eyes,” “Wildwood Flower” and, of course, “Will the Circle Be Unbroken.” She also plays autoharp, which isn’t something you hear much of these days.

The Nitty Gritty Dirt Band itself pretty much disappears on “Circle,” providing little more than some background accompaniment. They released a second volume in 1989 that fails to recapture the magic despite the presence of Johnny Cash and John Prine. A third, released in 2002, is better, and features the likes of Alison Krauss, Willie Nelson, Iris DeMent, Emmylou Harris, June Carter Cash, Johnny Cash and Dwight Yoakam as well as old standbys Doc Watson, Earl Scruggs and Jimmy Martin.

Oh, and you can still listen to Bluegrass Country. I had it tuned in Sunday morning, when they played several hours of gospel music by the Stanley Brothers.

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A crazy story about a fake poll in the Markey-Kennedy Senate race

This story from Elections Today about a fake poll showing Joe Kennedy with a substantial lead over Ed Markey is just nuts. Was it a “social experiment”? Was the Kennedy campaign involved in any way? I really hope someone gets to the bottom of this.

In case you were wondering, three non-fake polls show Markey with a healthy lead in the Democratic Senate primary.

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Boston Globe employees told to work at home for the rest of the year

Boston Globe employees were told Wednesday that employees should continue to work remotely through the end of the year, although they may choose to come in to the office for no more than two days a week after Labor Day. What follows is the top of the memo from the Boston Globe Media Partners executive team, which I obtained from a trusted source.

Hello all,

On behalf of the Executive Leadership Team and Safety Committee, we want to provide some important updates and clarification on opening the Boston Exchange Place / 53 State Street office, as well as the Rhode Island and Washington, D.C. offices. We have talked before about how the Boston office would reopen after Labor Day to serve as an optional amenity for people who needed a break working from home, and that it would still be limited to not more than two days per week. We want to emphasize that while we greatly miss being together, not only are you not expected to return work in person, but we do not want or need for you to come in.

We are arranging the office to be safe for people who want to use it on a limited basis, but the preference is that you continue to work from home.  We have been monitoring the pandemic and will continue to respond based on state guidelines, but in the meantime, we are extending this phase of limited, optional-only use of the office through the end of the year.

To be clear, we want the Boston offices to be as empty as possible for the remainder of 2020. While we realize that there could be an expectation that managers may want you to show up in person, or that you may miss out on an opportunity if you are not in the office, we want to dispel that notion by emphasizing that managers do not and must not expect you to return to the office for the remainder of the year. If you have concerns or questions about this, please talk to your manager or reach out to your HR partner to discuss.

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How an intrepid Greek exile, the CIA and The Boston Globe nearly kept Richard Nixon out of the White House

Previously published at WGBHNews.org.

Elias Demetracopoulos was a fascinating character — World War II resistance fighter, journalist, opponent of the military junta in Greece and, ultimately, a political exile in the United States. Today, though, he is all but forgotten.

In a new biography, James H. Barron seeks to rectify that. “The Greek Connection: The Life of Elias Demetracopoulos and the Untold Story of Watergate” (Melville House) portrays a larger-than-life figure who could have altered the course of American history if his warnings about illegal Greek financial contributions to Richard Nixon’s 1968 presidential campaign had been made public. As Barron reveals, The Boston Globe came tantalizingly close to breaking that story — but it went untold until years later.

Given what we already know about Nixon’s attempts to sabotage the Vietnam peace talks during the 1968 campaign, the new details about secret Greek money described by Barron can only add to Nixon’s reputation as a corrupt, cynical politician willing to wade illegally into international affairs if he thought it would benefit him. Watching President Donald Trump clumsily bulldoze his way over the path blazed by Nixon calls to mind Marx’s observation that “history repeats itself, first as tragedy, second as farce.”

Barron is a lawyer and journalist based in the Boston area whose career stops included The Boston Phoenix, and who has written for The Christian Science Monitor, The Boston Globe, The New Republic and The European. He was the first book review editor for Campaigns & Elections. Barron is also a founding advisory board member of the New England Center for Investigative Reporting, now the WGBH News Center for Investigative Reporting. His wife, Marjorie Arons-Barron, is the retired editorial-page editor at WCVB-TV (Channel 5) and a well-known local blogger.

The following email interview has been lightly edited.

Q: What were the circumstances that led you to tell Demetracopoulos’ story?

A: Serendipity. I was rushed to the ER by ambulance in 2007. Before they figured out my problem, I tried to quell my fears by imagining an idyllic morning on the island of Mykonos 40 years before. Afterward, I thought about why, at that perilous moment, my mind went to Greece in 1966.

I briefly considered writing a novel set there, but I’m not a fiction writer. I was fascinated by the Bostonian Greek tycoon Tom Pappas’ role in the 1968 election and started to write about him. In 2009, I told the legendary investigative reporter Sy Hersh about my project. He advised me to focus instead on Elias Demetracopoulos, the person who tried to blow the whistle on Pappas.

After meeting Elias in Washington, I realized this episode was a small part of a remarkable life, beginning with his days as a 12-year-old involved in the Greek resistance. He was captured, tortured, imprisoned and sentenced to death by the Nazis. Later, as an aggressive, fiercely independent journalist, he fled Greece when a military junta seized power in 1967, escaping to the U.S. over State Department objections.

Q: You write that Demetracopoulos went to Democratic Party operative Larry O’Brien in 1968 with information that Richard Nixon’s presidential campaign had received a secret $549,000 payoff from the Greek junta. You also speculate that O’Brien didn’t inform President Lyndon Johnson, even though it could have led to Nixon’s defeat at the hands of Hubert Humphrey. Why do you think O’Brien sat on it?

A: I explore different theories. O’Brien trusted the message, but not the messenger. Before fleeing to the U.S. in 1967, Elias had been a scoop-hungry reporter whose exposés had so angered American officials that the CIA and State Department tried to destroy his reputation and effectiveness, often placing false information in his intelligence files. JFK press secretary Pierre Salinger passed lies and unjustified speculation to O’Brien and others that, beneath his charming exterior, Elias was a communist who secretly worked for “the other side,” and should not be trusted.

Joe Napolitan, Humphrey’s media adviser, begged to use the Pappas illegal foreign money revelation in ads. O’Brien said no. David Broder of The Washington Post told me that, given how close that election was, Elias’ disclosure would have been a “bombshell” that could have changed the outcome. Imagine history with no President Nixon and no Watergate.

Q: There’s a great Boston Globe angle in your story. You write that Washington bureau chief Bob Healy took Demetracopoulos’ tip to editor Tom Winship, who in turn assigned the story to Christopher Lydon. Lydon ended up writing a profile of Tom Pappas, who was part of Nixon’s campaign as well as a bagman for the junta, but he was unable to prove there had been a payoff. Did the Globe ever try to revisit that story?

A: Healy’s tip came informally from CIA agents, not Elias, indicating that American intelligence at some level knew about the Greek junta plot to bribe the Nixon-Agnew campaign. O’Brien told Elias that, because the matter was so delicate, if he wanted O’Brien to go to LBJ to expose the scandal, Elias must not talk to the press. And he didn’t.

Lydon wrote about the Greek money rumor in the Globe but said the charge was “unsubstantiable.” Lydon interviewed Pappas, who denied the charges, and O’Brien’s press secretary, who said nothing to Lydon about Elias — despite Elias’ detailed revelations to O’Brien, his offers to provide corroborating witnesses in Athens, and even to fly some witnesses to the U.S. More problematic were non-Globe reporters like Gloria Steinem, who summarily dismissed the Greek money rumors as an illegality the frontrunning “New Nixon” would not stoop to commit.

The Globe never revisited the story. Elias moved on, considering his efforts to blow the whistle on Pappas a distraction from his principal fight to restore Greek democracy. Lydon later joined The New York Times, where he met Elias and found him to be a credible source.

Q: The title of your book refers to “the untold story of Watergate.” As you explain, the gang of Nixon operatives who broke into O’Brien’s office at the Watergate complex may very well have been looking for O’Brien’s notes on what Demetracopoulos had told him four years earlier. That would place Nixon’s relationship with the Greek junta at the center of both his 1968 and 1972 campaigns. How does that change our understanding of the Watergate scandal and the Nixon presidency?

A: Greece was peripheral to Nixon’s foreign policy interests, save for his preferring a staunch anti-communist dictatorship to a messy democratic government, human rights be damned, and as a source for illegal campaign funds to be milked by his tycoon fundraiser Tom Pappas.

Watergate is a metaphor for abuse of power during the Nixon years. The scandal didn’t begin with the planning for the June 1972 break-in. Its roots are in the illegal financing of the 1968 election, the potential disclosure of which caused, in the words of the historian Stanley Kutler, the “most anxiety” in the Nixon administration “for the longest period of time.”

Elias’ 1971 congressional testimony against Pappas pushed Nixon’s henchmen into overdrive and led to schemes to have Elias deported, not to mention looking away when the Greek junta plotted to have Elias kidnapped and killed. The sole opportunity to expose the reasons behind the Watergate break-in before the election was stopped because of untruthful attacks on Elias’ reputation.

There is strong circumstantial evidence that at least part of what the burglars were directed to find was whatever derogatory information the Democrats had on Nixon, especially financial documents related to foreign contributions.

Q: Demetracopoulos was a well-known, well-connected figure for many years, yet today he is all but forgotten. What do you think is the single most important lesson of his life and career?

A: Fame is fleeting. Two of the most influential columnists of that time, Walter Lippmann and Joseph Alsop are also largely forgotten today.

The central takeaway from Elias Demetracopoulos’ life is that one intrepid individual, against great odds, can make a difference — but standing up to abusive governments often entails profound risks, great personal sacrifices, and a lifetime of relentless attacks and harsh consequences.

To be a whistleblower requires the courage to jeopardize your career and even risk your life. But doing so can influence history.

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Album #9: Al Green, ‘Greatest Hits’

For those of us on the younger end of the baby boom, the great male soul singers came along a little too early. Otis Redding, Wilson Pickett, Sam and Dave, Sam Cooke et al. were integral parts of the 1960s. We’re children of the ’70s. But we had Al Green.

Starting in the early ’70s, Green recorded an extraordinary series of singles. It seemed like he was never off the radio during the first part of that decade. And why would anyone have wanted him to be? Green wasn’t a shouter like some of his predecessors; his voice was more delicate, weaving in and around the song, soaring into the upper register with ease and then back down again. Aretha Franklin may be the greatest singer of the past 75 years, but Green is my favorite. Most of his best moments are on “Greatest Hits,” released in 1975 and repackaged several times since then.

Could anyone hit a snare drum like Al Jackson Jr.? It may seem like a small thing, but there was a particular sound that Jackson got from his drum set, especially the snare, that instantly stamped those songs as Al Green songs. The band was as good as Jackson, and together they created magic.

The list of hits on “Greatest” is overwhelming, starting with “Tired of Being Alone.” President Obama memorably covered “Let’s Stay Together.” Probably my favorite is “L-O-V-E (Love),” which was released in 1975, as Green’s religious side was coming to the fore. Like a lot of Green’s best work, it’s kind of weird. it starts off as a typical love song, and then morphs into something else entirely:

I can’t explain this feeling
Can’t you see that salvation is freeing
I would give my life for the glory
Just to be able to tell the story
About love

You want more weird? Listen closely to his 1973 hit “You Ought to Be with Me,” which includes the line “You oughta be with me until I die.” The key word in the song is “die,” which he stretches out to form its own soaring one-word chorus. Yes, you’ve heard the song a bunch of times, but were you paying attention?

The 1995 CD re-release of “Greatest Hits” expanded the number of tracks from 10 to 15, adding “L-O-V-E (Love)” and “Love and Happiness,” originally part of “Greatest Hits Vol. 2,” and “Belle,” which he released just before he entered the ministry. For some reason, Spotify’s version harks back to the LP, so I’ll have to put together a playlist.

Green could be prickly. In an appearance on “Saturday Night Live” during his ’70s heyday, I remember him getting angry and calling out his band for some perceived offense. Then, in 2012, we had the privilege of seeing him in Portsmouth, New Hampshire. He was in fine voice and put on a terrific show. But at one point he complained to the audience that the promoter had wanted him to perform for more than an hour. I don’t think any of us thought that was an unreasonable request.

Green can be temperamental, but there are moments that are so perfect that you’re left breathless. If you go to YouTube, you can find two versions of Green singing the Sam Cooke civil-rights classic “A Change Is Gonna Come.” The first, from the 1995 concert for the Rock and Roll Hall of Fame in 1995, is, well, OK. He was clearly having a good time.

The second, from the 2001 United We Stand concert after 9/11, is transformative. Dressed in white, Green is completely serious, a picture of concentration and passion, encapsulating his art into five minutes of anguish and release. It is an astonishing performance.

As one of his albums proclaimed, Al Green is love.

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Connecting the dots on environmental racism

You may have read in The Boston Globe that the city has concocted an insane plan to cut down more than 100 mature shade trees along Melnea Cass Boulevard in Roxbury in order to pave (see what I did there?) the way for a road improvement project.

Now The New York Times reports that redlining across the country has resulted in communities of color being shortchanged of trees and other green space — resulting in temperatures that can be as much as 5 to 20 degrees hotter.

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Those secret tapes also tell us something about Mary Trump

Mary Trump. Photos in the public domain.

The revelations are highly entertaining, but think about it: Mary Trump secretly recorded her aunt, Maryanne Barry, and gave the audio to The Washington Post. What kind of a person does that? There is nothing in the story to suggest that Mary has a beef with Maryanne, or that she considers her part of the plot to deprive her of her inheritance. There’s no such thing as a good Trump.

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Album #10: ‘Lyle Lovett and His Large Band’

I’m not exactly sure when I first heard “Lyle Lovett and His Large Band,” Lovett’s third album, but it was surely within a year or so of its 1989 release. For a long time I thought his fourth album, “Joshua Judges Ruth” (1992), was his best. But I relistened to both before writing this post, and though I love both albums, “Large Band” is the one that sticks with me.

It’s also the album that remains the backbone of his live shows. The Large Band is an old-style Texas swing band. Their musicianship is impeccable. If you think Lovett’s albums tend to be overproduced, you really need to go to a concert. These musicians are every bit as good and precise in person as they are on record. And they swing.

As for the album itself, it’s divided into two halves, as albums sometimes were before CDs and streaming. Side A is with the full band, and if I have a complaint, it’s that it doesn’t sound much like Texas swing; it’s more like the big-band music your grandparents listened to. That said, the songs are terrific. “Here I Am” (“If it’s not too late, make it a cheeseburger”) and “What Do You Do/The Glory of Love” (a duet with Large Band stalwart Francine Reed) are staples of his concerts.

Side B is all country, including his cover of “Stand By Your Man” (included in the movie “The Crying Game”) and songs that have become Lovett standards, like “I Married Her Just Because She Looks Like You,” “If You Were to Wake Up” and “Nobody Knows Me.” Lovett’s range consists of about three notes — but he knows how to make the best of his limitions, sounding sly or heartbroken depending on what the song calls for.

Starting with “Joshua Judges Ruth,” Lovett expanded into gospel, and the Large Band more explicitly embraced Texas swing. An especially good example of the latter is “That’s Right (You’re Not from Texas),” which is on “The Road from Ensenada” (1996).

Lovett is one of those rare talents who drove me to get all of his albums. I’ve heard almost every one of them, and each has something to offer. My wife and I have seen him three times, all in outdoor venues — the last in August 2017 at a winery near Rockport, Maine. The highlight of that show came near the end, when he brought on a gospel choir he’d bused in from Boston and performed a lengthy gospel set.

Lovett always comes across as humble and grateful for the opportunity to make a living from music. His songwriting may have faded, but he remains a vibrant, relevant performer. We’d go see him every summer if we could.

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Boston Globe promotes two minority editors to masthead positions

Boston Globe editor Brian McGrory today announced two promotions. In a memo to the staff, McGrory said that Ideas section editor Anica Butler has been named the deputy managing editor for local news, replacing Felice Belman, who recently departed for The New York Times. City editor Nestor Ramos will receive a new title — senior assistant managing editor for local news.

Both Butler’s and Ramos’ names will appear on the masthead, which represents a step forward for a paper seeking to become more diverse. Butler is the first Black woman and Ramos the first Latino to ascend to news-side* masthead positions. Years ago, Greg Moore, who’s African American, was the Globe’s managing editor (the No. 3 position in the newsroom at that time), but he left for The Denver Post in 2002.

A trusted source provided me with McGrory’s memo a little while ago. The full text follows.

Personnel

I’m beyond delighted to share a pair of key personnel announcements.

First, Anica Butler will take over as the Globe’s new deputy managing editor for local news, better known as the metro editor, among the most pivotal roles in any newsroom. She’s been preparing for this job for many years, and preparing extraordinarily well. Her nearly nine years at the Globe have been marked by seismic stories, and Anica always seems to be in the throes of them. She managed, morning to night, our coverage of the Aaron Hernandez, Tsarnaev, and Whitey Bulger trials, three epic events in this city’s history. She brought to all of them a digital, in-the-moment mindset that in many ways laid the groundwork for how we’ve approached big, unfolding stories ever since. In a somewhat gaudy display of her broad range, she then went on to edit a key installment in our 2017 series on the state’s woefully inadequate mental health system, a project that was a finalist for the Pulitzer Prize in local reporting.

Anica served a relatively short stint as Felice Belman’s main deputy on the metro desk, and as such, was a key bridge between metro and the digital world, organizing the day in the early morning, dispatching reporters, keying in on the most important journalism that we would focus on that cycle. She was pulled away by the siren song of the Nieman fellowship at Harvard University. When she returned, Anica took over the Ideas section, making it ever more compelling as it took on newsier subjects and brought far greater diversity in voices.

I certainly don’t have to tell anyone that Anica is a wonderful colleague. She’s also the brand new mother of a ten-week-old daughter. As has often been said, when you want to get something done, ask a busy person. Anica will start in this new role when her family leave ends on September 8.

Nestor Ramos, who has proven himself invaluable in his relatively new role as deputy metro editor, better known as the city editor, will take on the enhanced title of senior assistant managing editor for local news, a masthead position. This is a straight-up acknowledgement of his enormous impact on the room and our coverage. Given the coronavirus, given the economic collapse, remote work, social justice, racial injustice, he has been a pivotal leader in what has basically been a decade’s worth of news crammed into the first seven-plus months of 2020. Back in December, when Jen, Jason, and I convinced a reluctant columnist to become an editor,  we knew we needed him at the figurative and literal center of our newsroom. We had no idea how much we needed him, or just how well Nestor would perform — with reporters, other editors, ideas, copy, hiring, you name it. On top of all this, Nestor was announced as a finalist for the Pulitzer Prize in feature writing this spring for his jaw-dropping story on how the climate crisis has ravaged Cape Cod. Nestor, too, is a hall-of-fame colleague in ways big and small, plus the father of two young daughters, ages 4 and 1. The promotion will take effect immediately, and Nestor will report to Anica, in what will be as formidable a duo as there is in this industry.

Please reach out and congratulate Anica and Nestor, and thank them for all they’re about to do.

Brian

*Correction: Added “news-side” to make it clear that there have been persons of color on the masthead from the opinion operation.

Correction No. 2: I’ve changed the headline to reflect the fact that Ramos does not identify as a person of color.

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