Emma-Louise Williams

Radio producer, filmmaker, mum, BA MA GDL LPC,Trainee Solicitor, IAAS Senior Caseworker , asylum & immigration law 'AlI is flux, nothing stays still' My views

[Emma-Louise Williams @Underthecranes]

The writing's on the door... @MichaelRosenYes @BowArts @EastLondonGroup

[Danny Deraney @DannyDeraney]

58 Years ago today, The Banana Splits premiered.

And now you have an ear worm the rest of the day.

[Richard Morris @ahistoryinart]

Gilbert Spencer once said that after witnessing hand-to-hand fighting during WW1 he tried to build about him 'a little globe of ease.' Painting this work of laundry drying gave him contentment and peace of mind.

[Richard Morris @ahistoryinart]

'Cyclamen in a Pot.' (1925) Dora Carrington's sustaining inspiration was Cézanne. As well still-lifes there are a number of landscapes, views of buildings and trees - all have a formal purity, a worldly neutrality, which handily brings us back to Cézanne.

[Mordecai @MenschOhneMusil]

Ilya Glazunov, Metro, 1958.

[Muhammad Smiry 🇵🇸 @MuhammadSmiry]

Tomorrow is a funeral to 100 Palestinians in Gaza, including 70 children.

Read this again.

[Doreen Fletcher @DFletcherArtist]

´House in Whitfield Avenue’ 1977. The 2nd of 5 paintings to be housed in the Brampton Museum, Newcastle-u-Lyme. In 1975 my parents were moved to a council house in this road from their terraced home as part of nationwide slum clearance @ahistoryinart @thegentleauthor @art.govuk

[Emma-Louise Williams @Underthecranes]

@emilerosen

[A24 @A24]

10 years after the release of Moonlight, a very special announcement from director Barry Jenkins and writer Tarell Alvin McCraney.

[Michael Rosen 💙💙🎓🎓 NICE 爷爷 @MichaelRosenYes]

Hooray!

[Richard Morris @ahistoryinart]

'The Chintz Tablecloth.' (1948) Margaret Thomas is one of the great unsung post-war British artists - she painted commonplace subjects which were rendered extraordinary by her singular vision, much like her contemporary Margaret Green.

[Gaza Notifications @gazanotice]

🚨A terrifying scene in Gaza moments ago: children waiting in line for drinking water among their displaced families’ tents were thrown into panic by intense Israeli bombardment nearby.

[Richard Morris @ahistoryinart]

Gustav Wentzel's painting of his mother and son at breakfast one Sunday morning in 1882 takes us into his private domestic world and we witness something like the reality of life. The drama is implied, not shown.

[Charles MEANgus @theboogiecowboy]

Dolly Parton, her parents and siblings doing a version of “In The Pines” in 1976, a song long associated with Lead Belly but whose origins predate him…likely came out of a hodgepodge mix of songs from Southern Appalachia.

[Music over time🎻 @Peal8888]

Three Voices, One Old Song, and a Nearly Perfect Moment

In 1976, on a simple stage lit by warm golden lights, Dolly Parton, Linda Ronstadt, and Emmylou Harris sat side by side. Dolly held a guitar, her blonde hair glowing under the lights. The three of them began to sing “Bury Me Under The Weeping Willow” — a classic folk song by The Carter Family.

There was no big orchestra. No special effects. Just three voices blending together so naturally that viewers almost forgot they were watching a performance. Dolly led the melody with her clear, pure tone that still carried the breath of the Appalachian mountains. Emmylou Harris added delicate high notes, while Linda Ronstadt brought depth and emotional weight. Together they created a harmony that made the already melancholic song feel both aching and graceful.

The song tells of longing for someone who has passed, and of the wish to rest beneath a weeping willow. In their voices, that old story was no longer just lyrics. It became a quiet whisper about connection, about the deep roots of American country music — music born from the land, from loss, and from simple love.

That moment was special because it showed Dolly Parton was not only the glittering star with big hair and sparkling outfits. Sitting there with a guitar, singing alongside two friends, she appeared as a keeper of tradition. She played with those signature long nails, yet the sound remained steady and true. There was no need for showmanship; talent simply shone on its own.

Years later the three women would record the celebrated album Trio. But this 1976 performance still holds a beauty of its own: the innocence, the mutual respect, and the love for old songs. They did not try to reinvent the piece. They simply let it live again through their voices.

Today, after Dolly Parton has left us, that footage feels even more precious. It reminds viewers of a genuine Dolly, an artist who always knew how to return to her roots. In the harmony of those three voices, one hears not only music, but also humility and reverence for those who came before.

Some performances make audiences applaud for technical skill. Others leave people silent because of pure feeling. This clip belongs to the second kind. Three women sat there, sang an old song, and accidentally left behind a nearly perfect moment — simple, clear, and still echoing.

[Danny Deraney @DannyDeraney]

The time Dolly Parton and Kermit jammed to Sly and the Family Stone.

This is always how I will remember her.

[Fran Mallon @FranMallon1]

An amazing video of Dolly Parton singing one of her most famous songs in Páidí Ó Sé’s pub in Ventry Co. Kerry 🇮🇪 in 1990
How did Páidí pull that coup off
#RIPDolly

[Kara Richey @Kara_Richey]

If you make this the last thing you listen to tonight before you go to bed I promise you won’t regret it

[Dolly Parton @DollyParton]

A message from the family of Dolly Parton.

[MP10 @MusicPills10]

At 17 years old, Alex Turner wrote this song... and it changed his life forever. #ArcticMonkeys

[Mordecai @MenschOhneMusil]

Mum, 1990, David #Hockney.