TAMPA — Barring a late addition of a starter such as Blake Snell, Clarke Schmidt is guaranteed a rotation spot.
That knowledge allows him to test things out this spring rather than chase results.
When competing for a roster or rotation spot in previous years, Schmidt needed to show promising stuff and promising statistics to show the Yankees he should be an option. This year, Schmidt can try to experiment like he did Sunday.
The Yankees righty did not retire an opposing batter until the fifth hitter, when the Braves already were up 3-0, and recorded two outs in 27 pitches before getting pulled. (He would reappear for the second and third innings.)
“The goal was to try sequences that we haven’t really used before,” Schmidt said of his first inning after the 9-8 win at Steinbrenner Field. “Maybe throw a few more sinkers, see how the cutter plays off the sinker in different areas.”
The Braves pounced, particularly early in the at-bats, and Schmidt said he adjusted in the next innings.
“After that,” manager Aaron Boone said, “He looked like Clarke.”
The presumed No. 5 starter faced the minimum in the second and third innings, allowing just Jarred Kelenic to reach on a walk but then got a double play from Sean Murphy.
Clarke Schmidt throws during the first inning of a spring training baseball game against the Atlanta Braves.AP
Statistically, Schmidt was charged with four runs on four hits with two walks and five strikeouts in 2 ²/₃ innings while building up to 52 pitches.
“There’s no time to work on things in the season and test things out and test different sequences,” Schmidt said. “That’s what spring training’s for.”
Infield prospect Jorbit Vivas played the last four innings at shortstop, a position he had not played with the Dodgers the past few seasons or the Yankees this spring.
Vivas predominantly plays second base and got a look at third Saturday.
“I want to get him some work on the left side of the infield, get him a good feel for that,” Boone said of Vivas, who did not field a ball at shortstop. “It could be a role.”
Jonathan Loáisiga threw two “innings” of a live bullpen session.
Provided he bounces back well, the righty would debut against the Tigers on Thursday in Lakeland, Fla., Boone said.
Aaron Judge was lifted after two at-bats while other regulars received at least one more.
There was no injury, according to Judge and Boone. Boone had approached Judge earlier in the day to ensure it would be OK if Trent Grisham entered midgame.
“What is it, March 10?” Judge said he told Boone. “I’m good with whatever you got.”
As a four-time CMA Female Vocalist winner and a former Entertainer of the Year, Reba McEntire is no stranger to accolades for her accomplishments, but one of the singer’s most memorable CMA moments had nothing to do with her vocal prowess.
In 1993 when the star stepped on stage to perform her hit duet “Does He Love You,” with Linda Davis (mom to Lady Antebellum singer Hillary Scott), “everybody gasped!” recalls Vince Gill, who hosted that night.
Reba McEntire Remembers Her Scandalous Red CMAs Dress: ‘I Thought, Dang, I Look Good!’The singer was wearing a red velvet gown with a plunging view obscured only by a few well-placed sparkles. “It was very revealing and I didn’t know that!,” Reba says in PEOPLE’s Special Edition: 50 Years of the CMA Awards. “I had only had two fittings with Sandy Spika. One was at our office and I said, ‘I think you need to fill some more stuff in!’ When I put it on in the dressing room at the Grand Ole Opry for the show, I thought, ‘Maybe it’s just the lighting in here.’ And when I walked out on the stage, I heard the audience go ‘Oooooh!’ And I thought, ‘Dang, I look good!’”
She certainly did — but it left her country music family a little shocked. “I mean, Reba is a beautiful woman, but she’s like your sis! She is to me,” Gill says. “But what’s great about that moment was that it was unexpected out of Reba.”
Although McEntire says her dad gave her a gentle ribbing afterward — “Daddy said, ‘Did you have that thing on backwards?’” she laughs — the gown definitely served its purpose. “I didn’t win an award, but I did make the front page of the paper the next day!” she says.
As a former tomboy, who wore “hand-me-downs my whole life,” McEntire says she loves glamour of the awards night. “To have brand-new clothes that are sparkly… I’m like Dolly . I love sparkle and shine all day long!”
Two years before she donned that famous red dress, another gown and another CMA performance made a more emotional impression. In March of 1991, McEntire lost several members of her band and her tour manager in a plane crash. As a tribute to them she sang “For My Broken Heart” at that year’s CMAs, which she hosted and which country music fan President George H.W. Bush attended, the only president who’s done so.
“Sandi Spika worked her fingers to the bone to make me the most beautiful outfits that night and I felt like Cinderella,” McEntire says. “I think it was her effort to get me out of the depression and the loss that we had. And it did help tremendously. And then to have the president there and Mrs. Bush — what an honor for country music. It was a very special night.”
The rotational issues of the New York Yankees haven’t really disappeared. If anything, this Spring Training has magnified the fact that Carlos Rodon and Nestor Cortes Jr. need a lot of time before they can return to their best.
Their below-average performances have ensured that questions are raised. Especially as two quality starters are still in the market by the name of Blake Snell and Jordan Montgomery.
The Yankees’ interest in Snell has been a persistent theme in the ace’s free agency. However, things aren’t rosy currently between them.
Similar is the case with Montgomery, who may have some doubts after the way he was traded in 2022. Still, never say never in baseball. There could be a chance for at least one of them to make their mark in the Yankee Stadium.
The bad signs for the New York Yankees’ rotation?
There were already doubts about the quality of the Yankees’ rotation even before the Spring Training began. Despite the addition of Marcus Stroman, the lineup looked a little too risky.
Rodon and Cortes were coming off of major injuries and Stroman’s form had dipped by September. Will they be able to return to their best in time? That was a major question and Spring Training has given a clear answer to this.
Till now, neither Cortes nor Rodon have impressed by their starts. There’s a clear lack of control in their pitching. They can’t be blamed for it because their primary focus has been to get more pitches under their belt.
Still, Cortes gave away 6 runs and 9 hits in 3 ½ innings against the Minnesota Twins in Saturday’s rough outing. A few days ago, Rodon gave up 2 homers through his trademark fastballs.
This has made it all the more important for the Yankees to look for solutions. That’s where Montgomery and Snell come into the picture. Here, it’s Monty who could prove to be a possible signing for the Bronx Bombers. Josh Wilson of FanSided speculated the same that because Monty is open to a long-term deal, the Yankees can go after him.
A long-term deal suits the Pinstripes a lot more than a short-term one. There are many reasons to believe that the Yankees can still have Monty.
Jordan Montgomery and Blake Snell – can either be a part of the Pinstripes?
Jon Heyman of the New York Post had shared that the Boston Red Sox weren’t interested in a long-term deal with Montgomery. They were his primary suitors and in their absence; the door is wide open for the Pinstripes. Unlike Snell, who would cost a draft pick, Monty comes free of any such conditions. Also, Montgomery wants a longer contract.
The Yankees will pay 110% tax on any payment they make this season. A long-term deal would enable them to back-load the salary and reduce their burden for this year.
Could that be the way here as well? It is possible, however, as of now, there are no clear links between Monty and Yankees. Still, one can hope that a homecoming might be for the World Series hero.
A Thrilling Season of Sky-High Expectations and Crucial Questions
Navigating Through Uncertainties
The New York Yankees, perennial contenders in the AL East, face a season filled with both anticipation and ambiguity. Aaron Judge’s maintenance, Juan Soto’s integration, and the performance of key players like Gleyber Torres and Alex Verdugo are under the microscope. These elements combine to form a narrative of potential glory tempered by significant challenges.
The Aaron Judge Conundrum
Aaron Judge, the heart and soul of the Yankees’ lineup, is managing two maintenance issues that raise questions about his availability and performance. The “Judge-less” scenarios place a magnifying glass on the rest of the lineup, testing the depth and resilience of the team. The Yankees’ ability to maintain offensive production in Judge’s absence will be crucial.
Juan Soto Experiment: A New Chapter
Juan Soto’s arrival in New York heralds a new chapter for the Yankees’ offense. The “Soto Experiment” entails fitting a player of his caliber into an already star-studded lineup, creating a dynamic that could elevate the team’s offensive prowess or require adjustments to achieve harmony.
The Rotation: A Mix of Hope and Uncertainty
Carlos Rodón’s anticipated rebound adds a layer of optimism to the Yankees’ rotation. However, the overall stability of the pitching staff remains a question. The mix includes veterans and emerging talents, each carrying their own set of expectations and uncertainties. Marcus Stroman’s fit within the clubhouse and the consistency of Nestor Cortes Jr. and Clark Schmidt are variables that could significantly impact the team’s pitching performance.
Betting Perspectives on the Yankees
For bettors, the Yankees offer a blend of enticing opportunities and cautionary tales. The potential for high-scoring games, driven by a powerful lineup, contrasts with the uncertainties surrounding key players’ health and performance. Betting on the Yankees will require a keen eye on injury reports, lineup adjustments, and the integration of new players like Soto into the team’s dynamics.
Keys to Betting on the Yankees:
Monitor Judge’s Status: His presence or absence can significantly sway the odds in favor of or against the Yankees. Soto’s Impact: Pay close attention to how Soto adjusts to the Yankees and how his performance affects the team’s offensive output. Rotation Reliability: Evaluate the consistency and health of the Yankees’ starters, as their performance will be pivotal in determining the team’s success.
Conclusion
The New York Yankees’ 2024 season is set against a backdrop of towering expectations and notable uncertainties. With a lineup that can intimidate any opponent and a rotation that blends talent with question marks, the Yankees’ path to success is fraught with challenges. For bettors, the Yankees represent a compelling, albeit complex, proposition. Keeping abreast of developments within the team will be essential for making informed betting decisions as the season unfolds.
Stay ahead of the game and elevate your sports betting experience with SportsGrid.
The Bronx Bombers are gearing up with a revamped roster. This time, they even boast a generational talent, Juan Soto.
The Yankees fans have plenty to be excited about. As the final Opening Day lineup is yet to be determined, recent moves and spring training performances offer a tantalizing prediction for what could be a juggernaut offense.
Juan Soto, an outfielder, was the Bronx’s biggest offseason acquisition. Even though Soto was added through trade, he improved the lineup right away. The former Padres’ star could play right field and bat second.
The Bombers’ captain, Aaron Judge, the 2022 AL MVP, is now playing center field and at third in the order as a result of this move. Gleyber Torres at second base and the always dependable Anthony Rizzo at first base complete the heart of the order.
A key fragment in the infield is the young phenom, Anthony Volpe. After the Yankees drafted him in 2019, Volpe impressed them throughout the minor leagues. As of today, he looks primed to take over the starting shortstop role.
This only allows the versatile DJ LeMahieu to comfortably take a position on the third base, providing a solid veteran presence in the infield. This brings us to the next person in line.
Giancarlo Stanton, who, despite a down year in 2023, possesses reliable power. It is possible that he could thrive batting cleanup as the DH. Alex Verdugo, left fielder and another trade acquisition, brings a consistent on-base presence.
Not to mention his defensive prowess in the outfield. Next up, anchoring the defense behind the plate, is Jose Trevino, who is known for his strong and reliable work with pitchers.
Speaking of pitchers, it’s important to look at who is on the pitching side. Well, Gerrit Cole remains the undisputed ace of the staff. Thanks to his Cy Young Award-caliber performance in 2023, which solidifies him as the Opening Day starter. The 2023 Cy Young winner too is poised to lead a talented rotation.
This potential Opening Day lineup is an amalgamation of established veterans and competent young prospects. With Soto ad Judge’s power hitting, combined with Rizzo’s consistency and the top of the order is a threat to opposing pitchers.
The middle of the order provides a blend of power and on-base skills, while the bottom features a defensive stalwart in Verdugo and a potential breakout star in Volpe.
Factors That Aaron Boone Must Consider
On one hand, this lineup is an exciting prospect. On the other, there are still some uncertainties. While Stanton’s rebound season is yet to begin, the growth of young players like Volpe will be crucial. Spring Training would be the stage to put each of their abilities to test. With that, Manager Aaron Boone will use the pieces of the puzzle to determine the final Opening Day lineup.
No matter what the final configuration, one thing is clear – the Yankees will have a lineup that they can use to potentially dominate the 2024 season. With a proportionate mix of power, speed, and on-base skills, the Yankee Stadium will be surrounded with electric cheers all season long.
Roger Clemens is an MLB icon and the former New York Yankees pitcher took the mound for the Savannah Bananas on Saturday. The Bananas are an exciting team where baseball meets entertainment and they always put on a show for fans across the country.
With seven Cy Young Awards to his name, Clemens is something akin to baseball royalty and Jomboy Media shared a video of him in action for the Bananas on X:
“Roger Clemens took the mound as a Savannah Banana tonight. Historic”
WATCH: Yankees icon Roger Clemens takes mound for Savannah Bananas nearly 20 years after MLB retirement
Clemens’ final season came back in 2007 with the New York Yankees and he won two World Series in his career with the franchise. While the 61-year-old surrendered a two-run single at Minute Maid Park, fans cheered him on as he ultimately gave up three hits and three runs in one-third of an inning.
Clemens was joined by some other big names, as Roy Oswalt and Josh Reddick also took part as the Bananas beat the Party Animals in Houston. The Bananas took to X to thank everyone for their support:
“Wow, wow, wow. Houston, thank you for a historic night of Banana Ball. Nothing quite like a walk off win in front of 41,000 fans in our MLB Stadium Debut.
“On top of that we had Roger Clemens and Roy Oswalt suit up in yellow and take the mound, a dance number that’ll stop you in your tracks, and so much more. You made our dreams come true this weekend, Houston. 💛
“Now it’s time to call Baton Rouge – see you this weekend!”
Roger Clemens lays down challenge to Barstool podcaster
Roger Clemens was in the news recently after videos of him pitching made the rounds on social media, and he asked if anyone would like to face him. Enter Barstool’s Marty Mush, who replied to the tweet in no uncertain terms:
“Roger I would absolutely smoke you right back up the middle. Already have a hit against an MLB pitcher let me in.”
Clemens was not going to back down and responded:
“You’re not touching Mr. Splitty.”
As to whether this will take place is not confirmed at this stage, but Mush does have a hit on a Trevor Bauer pitch to his name.
Click here for 2023 MLB Free Agency Tracker Updates. Follow Sportskeeda for latest news and updates on MLB.
The story of the Beatles has taken on the power of myth.
Today, five decades after Beatlemania erupted, it seems almost inevitable, a magical confluence of talent and timing. A group of scruffy musicians from Liverpool, a depressed port in northern England, become the biggest band in the world, known on a first-name basis? They put out album after groundbreaking album, their influence as great as their popularity? They dominate the pop culture of the 1960s and break up while still at the top of their game?
You couldn’t make this stuff up.
But there’s been enough mythmaking, says Mark Lewisohn. It’s time to get down to the facts.
“It’s a story that’s lost all its excitement, because it’s been trodden down through too many bad tellings through the years,” says Lewisohn, the Beatles historian and author of such detailed works as “The Beatles Recording Sessions” and “The Beatles Chronicle.” “I just felt I would disregard everything that’s been done. I would start again.”
The result is “Tune In,” a mammoth (800 pages, not including notes) biography of the Fab Four that’s just the first of a projected three-volume work. The book ends in 1962, with the band on the cusp of stardom. (For those who really can’t get enough detail, there’s an “Extended Special Edition” available in Britain that runs 1,728 pages and retails for £120 – about $190.)
The Beatles in color: Unseen photos
Lewisohn, 54, has immersed himself in original documents, listened to and read contemporary accounts and interviewed those who were there, all those years ago. He compares the work to Robert Caro’s equally monumental biography of Lyndon Johnson, which is now four volumes long and has just started the story of LBJ’s presidency.
“This is a proper work of history,” he says. “And it needs to be done, and it needs to be done now, while the witnesses are still with us – most of them – and while access to archives is still possible.”
The Beatles’ popularity, energy and cleverness made them favorites on the BBC.
Getty Images
He’s emphatic that “Tune In” isn’t a hagiography, the literary version of a Beatles concert’s high-pitched screams.
“It’s not about legends, it’s not about icons, it’s not about myths,” he says. “The book is anti-myth.”
A little bit raw
Ah, but it’s a season for myths. American media is currently drowning in biographies and retrospectives linked to the 50th anniversary of the JFK assassination, and for all the attempts at hard-nosed history, it’s still challenging to watch videos of the youthful president and not be swept away by the yearning, emotional pull of what-might-have-been.
The Beatles, too, have become encrusted by an aura of nostalgia and wonder, as if subjects of an ancient legend.
Lewisohn is far from the first to try to get underneath the shell. Hunter Davies wrote an authorized take in the late ’60s; Philip Norman published the essential “Shout!” in 1981. Just seven years ago, Bob Spitz published “The Beatles: The Biography,” which is just as massive as “Tune In.”
As the 50th anniversary of their “Ed Sullivan Show” debut nears on February 9, the marketplace fills with more – not just books, but also a new music release.
The 2-CD set, “On Air – Live at the BBC Volume 2,” may in its own way be as revelatory as the books.
Here are the Beatles from 1963, when they were still a little raw, driving the motorways of Britain in the era’s version of an Econoline van to fulfill the latest one-nighter on their concert schedule. For the BBC, Britain’s broadcasting monolith, the group was energetic and eager-to-please, says Kevin Howlett, who helped put together the collection. It’s a sequel to the recently re-released and remastered “Live at the BBC,” which originally came out in 1994.
For one recording, during a bitter, snowy winter, they did a show in Bristol and then drove to London – a two-hour trip on a good day – for their BBC take the next morning. Another day they recorded 18 songs in seven hours for the BBC’s “Pop Go the Beatles.” Later they did 19 songs in a single long session. The BBC didn’t play many records, so it was perform live or nothing.
“They knew they only had one shot, really,” says Howlett, who’s also written a companion volume, “The Beatles: The BBC Archives.” “You hear how proficient they are as a live group – not only doing the unusual repertoire (of covers on the earlier BBC album), but doing their own songs.”
‘The biggest nickers in town’
Indeed, they were amazingly versatile. One song on the CD, “Beautiful Dreamer,” is a Stephen Foster classic rearranged for Tony Orlando in late 1962, but didn’t come out in Britain until January 1963. The Beatles somehow obtained a copy – it probably helped that their manager, Brian Epstein, managed a record store – quickly learned it and performed it on a broadcast.
They were also known to adapt American favorites for cover versions or to give them ideas for originals. Those kinds of talents are what set the Beatles apart from their competition, says John Covach, the director of the Institute for Popular Music at the University of Rochester, who’s taught courses on the group.
Covach mentions a variety of early songs – “She Loves You,” “I Want to Hold Your Hand,” “If I Fell” – that start out with fairly conventional structures but always have a twist somewhere: a drop to a minor chord, a leap to a high note.
Author Mark Lewisohn recently published the first volume of his Beatles biography.
Getty Images
“Most of what’s going on is something you’d hear routinely in even the most mediocre of pop songs,” he says. “But they twist it a bit and they come up with something that’s innovative without seeming like it’s totally strange.”
The Beatles freely admitted borrowing from others. They had “big ears,” in the jargon of music aficionados – they’d listen to anything – and tried to write their own versions of American hits. After all, their Liverpool colleagues were doing the same covers the Beatles did.
“We were the biggest nickers in town,” Paul McCartney told Playboy in 1984. “Plagiarists extraordinaires.”
Though the songs came in handy for their own group, even McCartney and John Lennon were under no illusions that the Beatles would last. Their long-term goal was to simply be songwriters for others, after all.
“When they came to America, the people they most wanted to meet were people like Carole King and Gerry Goffin – the Brill Building,” Covach says. “This was all really about setting up a lifetime of writing songs and being involved in pop culture in a fairly old-school way. It kind of morphed into something else.”
See Ringo’s photographs
‘They never existed in isolation’
Of course, that’s what leads to the present mythology – the “something else.”
The Beatles prepare to leave for America in early 1964.
Getty Images
It’s all become wrapped up in a ball by now: the cheeky press conferences, the madcap lads of “A Hard Day’s Night,” the psychedelic savants of “Tomorrow Never Knows,” the Apple business and the fade-out – not to mention the tragic deaths of Lennon’s friend Stu Sutcliffe, manager Brian Epstein and Lennon himself.
Even the parodies – National Lampoon’s “Magical Misery Tour,” Mark Shipper’s 1978 novel “Paperback Writer,” the Rutles – have somehow buffed the legend instead of undermining it. No wonder there are entire festivals devoted to all things Beatle, and have been for decades.
For Lewisohn, the biographer, that just means digging deeper to get to the heart of it all.
“In life, there are those people who are always sticking their hand up saying, ‘Come and see me,’ and maneuvering themselves more centrally into a story they weren’t so central to in the first place, and then there are other people who don’t put their hand up at all,” he says. “You have to gain their trust, but then they’ll tell you fantastic things. And then a key element is not believing everything people tell you, because people embroider things.” (For those who want to share their Beatle-related stories, he has a page on his website for contributions.)
After he returns to his writing desk, he believes he has several years ahead of him. Volume 2 is 40% done; Volume 3 might be 10%. He expects the entire project may take to the end of the decade.
Through it all, he’s maintained great admiration for the group, of course – they’ve been his life’s work. But he’s careful to separate the men from the myth.
“They never existed in isolation. They were always in the mix with other people,” he says. “They’re not legends. They’re just people.”
In that, he echoes none other than John Lennon himself from his 1970 Rolling Stone interview.
“We were four guys. I met Paul, said ‘want to join me band.’ Then George joined, and then Ringo joined,” he said. “We were just a band who made it very, very big. That’s all.”
Two of country music’s most renowned icons, Reba McEntire and Dolly Parton, have made something of a resurgence in mainstream media this year.
McEntire released a book, Not That Fancy: Simple Lessons on Living, Loving, Eating, and Dusting Off Your Boots, and Parton did, too: Behind the Seams: My Life in Rhinestones. She also has a rock record coming out later this month.
I had the opportunity to sit down with McEntire recently, and one of the things I wanted to know is whether she remembered the first time she ever met Parton.
“The first time I was ever in her presence was September 17, 1977. It was my first time at the Grand Ole Opry,” she says, reciting the exact date she saw her in the flesh. “I was gonna get to do two songs, and they came to me and said, ‘Well, we’re gonna have to take one of your songs,’ and I said, ‘Why?’ They said, ‘Well, Dolly Parton just pulled in the parking lot and we’re gonna give her one of your songs.’”
I could tell as McEntire was describing the experience that was being genuine — the memory was very vivid to her.
“I said, ‘She can have both of them. Can I meet her?’” she recalls “I didn’t meet her, but she did walk in front of me, and I thought, ‘Oh my God, that’s the most beautiful woman I’ve ever seen in my life.’ She kinda floated by. She was just like an angel.”
One would draw the conclusion that the two ladies were in heavy competition during the ’80s and ’80s, but McEntire says no way — that wasn’t the case at all.
“Not competition with Dolly. No. I am not a competitor with Dolly,” she insists. “Dolly’s Dolly. I’m a little over here. Dolly, you know .. she’s everything. I’ve always looked up to her. I’ve watched. I’ve learned. I have listened.”
McEntire went on to talk about her favorite projects, saying: “My favorite album, two of my favorite albums, is Dolly Parton’s first album, Blue Ridge Mountain Boy, and Carole King’s Tapestry. I love story songs. I love the intimacy of them telling you a private story about their lives through a song.”
McEntire is currently on Season 24 of The Voice. She has already signed on to coach a team on Season 25, too.
Dolly Parton has a long list of country radio hits under her belt, but she believes there should have been three more on that list. In a recent interview with Vulture, the country veteran revealed there are three songs of hers that radio programmers refused to play.
In fact, they determined one song was too “vulgar” for their audience — which Parton says was a simple misunderstanding of the song’s content. The other two tracks she says were deemed too progressive at the time.
“The Bargain Store”
Dolly Parton – The Bargain Store (Official Audio)
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In “The Bargain Store,” Parton likens her life to that of a discount shop. She paints a picture of a woman who’s been scorned too many times by past lovers. She’s been heartbroken, but with the right person she can become good as new again.
“I may have just what you’re looking for / If you don’t mind the fact that all the merchandise is used / But with a little mending, it could be as good as new,” she sings in the chorus.
“I’m saying come inside my heart,” she explains. “I’m talking about a broken heart and how we can put the pieces back together if we’re willing to try. I thought that was one of my most clever songs, and it’s still one of my favorites.”
“But at that time, they were saying it was vulgar and I was saying something else. The bargain store, open, come inside. You get it,” she adds.
“Down From Dover”
Dolly Parton – Down from Dover (Audio)
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Parton pushed the envelope in “Down from Dover.” At the time, no one would dare write a song about a single mom. The idea of a strong woman who can care not just for herself, but a child, too, was not widely accepted.
The song follows an uncommon scheme without verses or a repeating chorus. It tells the story of a woman who was left by her lover after the two learned she was pregnant. Although he promised her he would be back, he never came “down from Dover.”
“They wouldn’t play that on the radio,” she tells Vulture. “And now you can just get pregnant on TV.”
“I felt those songs were strong when I wrote them and I thought both times, ‘Oh, man, this could be a big hit. A lot of people will relate to this and it’s a great story. It would make a great movie,’” she reminisces.
“Evening Shade”
Similar to “Down from Dover,” Parton’s song “Evening Shade” dealt with a controversial topic at the time. The song describes an old orphanage named Evening Shade that was so horrific to its children. Finally, the kids decide to revolt. They undermine the headmistress and burn the orphanage down.
The song also follows a similar storytelling style, without verses or a repeating chorus.
“It’s just so well rhymed and all,” Parton reveals. “They wouldn’t play that one on the radio, either. They thought it was going to incite violence or something.”
“I don’t write songs thinking like that,” she continues. “I come up with all of these stories. They make good movies in my mind when I write. They paint pictures.”
Each of these songs wouldn’t be lost on country radio today. Country music is known for its storytelling and more often than not, fans find themselves in the lyrics.
Carrie Underwood’s “Church Bells” is a song about revenge, and Hardy’s song “Wait in the Truck” deals with domestic violence. Meanwhile, Jelly Roll’s “Save Me” touches on themes of addiction and suicide.
