'Country might have come out of the hollers and cotton fields and dusty plains, but it was shaped by records and radio, movies and television,' writes LATimesTVLloyd
Judy Norton, left, Ralph Waite, Michael Learned, Ellen Corby and Eric Scott were costars on"The Waltons," which aired on multiple networks in multiple iterations from the 1970s to the 1990s.
The music implies a world. As pictured over decades of movies and television series, “country” is an imagined, not exactly imaginary place, an audiovisual nostalgic needlepoint sampler of simple pleasures and family values — “Little House on the Prairie” was built there, “The Waltons” too. Holiday specials flourish in that air. In these not completely reliable narratives, country people are more comfortable in their skin, more authentic, closer to the earth and to heaven than city folk.
When country characters do scheme, it’s often for purposes of comedy or in response to those foolish enough to take them for fools; they’re scamps. If Yankee bootleggers stood for organized crime, the hillbilly moonshiner is the picture of down-home entrepreneurial individualism. George Jones’ first No. 1 was: “Well, the G-men, T-men, revenuers, too/Searchin’ for the place where he made his brew/They were looking, tryin to book him, but my pappy kept on cookin’.
Bad behavior comes with a note of regret . With its lyrical roots in folk ballads marked by rape and murder and abandonment and its contemporary tales of disorderly drunkenness and marital infidelity, country music can seem an encyclopedia of wickedness.
“Patsy and Loretta,” with its creative women and problematic spouses, takes on its share of such conflict. The most remarkable thing aboutwhich ran from 2012 to 2016 on ABC and for two more years on CMT, is that no one had thought of it before, given how comfortably the substance of country songs adapt to a prime-time soap opera and how efficiently a prime-time soap opera could become a platform for country music.
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