At Aretha Franklin's Funeral, and other music links

The posting of links does not constitute an endorsement of the sites linked, and not necessarily even agreement with the specific posts linked.

• Aretha Franklin funeral bishop apologizes to Ariana Grande for name joke, inappropriate touching -- "The bishop who officiated Aretha Franklin’s funeral, Charles H. Ellis III, apologized Friday to Ariana Grande for how he touched her onstage and a joke he made about her name."
• Aretha's Funeral: Trump Bashing Was Fine, But Preaching Responsibility Was Offensive -- "President Trump took a pounding at the services for Aretha Franklin...speakers took shots at the President either by name or by implication..."
• Ariana Grande sparks controversy after donning an extremely short LBD to Aretha Franklin's funeral in Detroit -- "...Ariana Grande's rendition of [(You Make Me Feel Like) A Natural Woman] was quickly overshadowed by the controversy her alluring attire sparked."
• At Aretha Franklin's Funeral, Gospel Was The Heart — And Backbone -- "Franklin made her first recordings at age 14 in her father's church in Detroit, New Bethel Baptist. And there were gospel inflections in everything she sang..."
• Balm In Gilead -- "No. 243 Balm In Gilead, sung at the Northern Shenandoah Valley Annual Singing 2016"
• Controversial eulogy at Aretha Franklin funeral -- "Rev. Jasper Williams Jr., who is black, said African-Americans kill the same number of black people slain by the Ku Klux Klan throughout history in a matter of months."
• Holy Manna (alternative tune) - Sacred Harp on Sand Mountain -- "An alternative tune with the words to Holy Manna (Brethren, we have met to worship), sung on Sand Mountain, Alabama."
• How Sports Met 'The Star Spangled Banner' -- "The first time we have 'The Star Spangled Banner' played for any type of sporting event is actually May 15, 1862, in Brooklyn, New York."
• Sacred Positions: A Personal History of Blindness and Singing -- "This narrative essay explores a blind singer's experience with church singing, a cappella competitions, and Sacred Harp singing. In it, Emily K. Michael maps the conflicts between pervasive disability narratives and audience expectations, as well as the evolving challenges of each genre."