I have been feeling my inner music-beat writer stirring a bit, as of late. Maybe, like Pete Townshend, I’m getting old. Then again, my East Tennessee home is a short drive from the birthplace of country music, and only slightly further from Nashville.

Thus, my eyes tend to focus a bit when I see this kind of headline in a blue-zip code elite newspaper, in this case the Washington Post: “Five myths about country music.”

Yes, this did run as a “perspective” piece in the Outlook section, so I am not looking at this as a news piece. Instead, I am simply noting an interesting chunk of this country-music flyover, since I would argue that it points toward a familiar news “ghost” in popular culture. I am referring to the prominent role that religion and religious imagery plays in country music and how that helps shape its audience.

Here is the overture of this piece by Jocelyn Neal, a music professor at the University of North Carolina at Chapel Hill. She is the author of “Country Music: A Cultural and Stylistic History,” from Oxford Press.

Love it or leave it, country music — with its whiskey-soaked nostalgia and crying steel guitars, its trains, trucks and lost love — is a defining feature of the American soundscape. This fall, Ken Burns’s documentary series, along with an outpouring of Dolly Parton tributes on NPR, Netflix and the stage at the Grand Ole Opry, has trained a spotlight on the genre. Still, myths infuse many people’s understanding of country music — and some of them are integral to its appeal.

Something seems to be missing there.

Let’s turn to an alternative summary statement, provided by someone who knew quite a bit about this topic — Johnny “The Man in Black” Cash. Asked to state his musical values, he said: