Live Aid Research: Live Aid - Music Through Time | Social Studies

Welcome to another post on my blog. Today, we moved on from Woodstock and the Vietnam War to the Live Aid concert. Occurring on 13 July 1985, the Live Aid concert was held in Wembley Stadium in London and at John F. Kennedy Stadium in Philadelphia. It was organised by Bob Geldof and Ultravox vocalist Midge Ure.  The concert had an estimated 1.5 billion television viewers and raised millions of dollars for famine relief in Ethiopia. 

Live Aid
Credit: https://www.thisdayinmusic.com/liner-notes/live-aid-lineup/

Live Aid was fundraising on a world scale for the Ethiopian Famine. It was called a “Global Jukebox”.  The two main concerts were held in (UK) Wembley Stadium - 72,000 and (USA) John F Kennedy  Stadium  - 89,484.  At the same time, other countries held smaller concerts, Soviet Union, Canada, Japan, Yugoslavia, Austria, Australia and West Germany.  It was one of the largest satellite link ups of all time and reached 1.9 million people, 150 nations.  Most of the world saw the concert.  Prior to the concert the UK and Irish musicians were bought together to record a song called “Do they know it’s Christmas” 

Left: Midge Ure          Right: Bob Geldof

Bob Geldof is an Irish singer-songwriter who was the lead singer of the Boomtown Rats in the late 70s, he achieved popularity at the time of the punk rock movement. He was born on 5 October 1951 in a coastal suburb of Dún Laoghaire, Ireland. He was educated at a private Catholic school, but later he said that he didn't enjoy his time there because of its Catholic ethos and bullying for his lack of rugby bravery. After leaving school, he went in certain odd jobs but wasn't inspired by any of them. Later, he went to Canada to work as a music journalist.

In 1975, Bob Geldof became the lead singer of the Boomtown Rats, a punk rock band. He famously started the reason for joining a pop band. By 1978, they achieved their first UK hit single, 'Rat Trap' and later achieved a second hit with the song, 'I Don't Like Mondays'.

By 1984, Bob had moved from being a rock star to an international celebrity for raising awareness of humanitarian charities. In October 1984, after watching a British television news report on the extreme conditions of hunger in Africa, Bob Geldof visited Ethiopia to see the difficulty for himself. It was actually that Ethiopia and other African countries experienced a severe famine which led to many thousands of people starving to death. Bob Geldof and Midge Ure decided to do something about it, they released a single, "Do They Know its Christmas Time". It was an unplanned event with many of the best-known names in pop music invited. It became an instant best-seller, selling a record of 3 million copies.

Geldof continued his mission the following year by planning two 16-hour concerts to be held simultaneously at Wembley Stadium in London, England and JFK Stadium in Philadelphia, Pennsylvania, United States. This extravaganza aimed at raising money and awareness for Africa. It was a unique musical event capturing the creativity and attention of the world. The highlights included Paul McCartney,  the surviving members of Led Zeppelin, Mick Jagger in duets with Tina Turner and David Bowie; Bob Dylan, Neil Young, and Queen (British rock band), whose popularity rose after their inspired performance.

The Live Aid concert was broadcasted live to 110 countries and raised over $127 million. Again, Bob Geldof travelled again to Ethiopia to supervise the delivery of supplies bought with the funds raised.

Following this concert, Bob became more involved in work for non-governmental organisations in Africa and became one of the leading spoke people on Third World Debt Relief.

Bob Geldolf was knighted in 1986 and is often affectionately known as 'Sir Bob'. He was married to Paula Yates, though they later split up. Currently, he is married to Jeanne Marine since 2015 and has 5 children.

Credit: https://www.biographyonline.net/music/bob-geldorf.html

            https://kids.britannica.com/students/article/Live-Aid/315290

James Ure (stage name, Midge Ure) is a Scottish musician, singer-songwriter and producer who involved in several bands and was the front man for Ultravox. Born on 10 October 1953, in the town of Cambuslang in Scotland, Midge Ure enjoyed in particular success in the 1970s and 1980s in the bands of Silk, Thin Lizzy, Rich Kids and Visage. Ure began his professional music career with Salvation, a Glasgow-based group that became the bubblegum bank Silk in 1974. Upset in the change of direction, James Ure left to band to join the Rich Kids, a punk-pop group led by former Sex Pistol bassist Gln Matlock. The Rich Kids only released one album, the 1978's Ghosts of Princes in Towers, before breaking up a year later, Midge Ure spend a brief time with the Misfits (not the American band) before forming Visage with summer Rusty Egan and vocalist Steve Strange, he left the group to replace Gary Moore in Thin Lizzy, who had left in the middle of an American tour. After the tour was finished, Midge Ure fulfilled an agreement to join Ultravox as the replacement for John Foxx.

Once he joined the band in 1980, he helped made Ultravox a mainstream success. During this time, he also worked as a producer, making records with Steve Harley and Modern Man. in 1982, Ure released a solo single, a cover of the Walker Brothers' hit "No Regrets", it climbed into the UK Top Ten.

Midge Ure and Bob Geldof formed Band Aid, a special project to aid famine relief efforts in Ethiopia, in 1984. The two wrote the song, "Do They Know It's Christmas?" and assembled an all-star band of British musicians to record the single; it song millions of copies over the 1984 holiday season and prompted Bob Geldof to organise the benefit concert Live Aid in 1985.

Midge Ure was recognised as an OBE (Officer of the Order of the British Empire). 

Credit: https://www.allmusic.com/artist/midge-ure-mn0000479687/biography

Lyrics

It's Christmas time, there's no need to be afraid

At Christmas time, we let in light and we banish shade

And in our world of plenty we can spread a smile of joy

Throw your arms around the world at Christmas time

But say a prayer, Pray for the other ones

At Christmas time it's hard, but when you're having fun

There's a world outside your window

And it's a world of dread and fear

Where the only water flowing

Is the bitter sting of tears

And the Christmas bells that ring

There are the clanging chimes of doom

Well tonight thank God it's them instead of you

And there won't be snow in Africa this Christmas time

The greatest gift they'll get this year is life

Where nothing ever grows

No rain nor rivers flow

Do they know it's Christmas time at all?

Here's to you

Raise a glass for everyone

Spare a thought this yuletide for the deprived

If the table was turned would you survive

Here's to them

Underneath that burning sun

You ain't gotta feel guilt just selfless

Give a little help to the helpless

Do they know it's Christmas time at all?

Feed the world

Feed the world

Feed the world

Feed the world

Feed the world

Let them know it's Christmas time again

Feed the world

Let them know it's Christmas time again

Feed the world

Let them know it's Christmas time again

Feed the world

Let them know it's Christmas time again

Feed the world

Feed the world

Feed the world

Feed the world

Feed the world

Feed the world

(Feed the world)

Feed the world

Feed the world

Anti-Vietnam Song: Woodstock - Music Through Time | Social Studies

Welcome to another post on my blog. Today, we started a new topic for the Music Through Time unit, Woodstock. This topic also involves the Vietnam War (1955 - 1975 - 20 years). Today, we looked at both Woodstock and the Vietnam War and what happened there. 

During the war in Vietnam, America was heavily involved in it. Many people in the world including New Zealand were against the war. There were songs written about the Vietnam War and how bad it was. Some songs were also sung at Woodstock (15 - 18 August 1969). 

I used the song, Vietnam - by Jimmy Cliff.

The artist, Jimmy Cliff (a Jamaican reggae musician), wanted to stop the war because the families were losing all their men, but, he wrote this song as a support of the soldiers fighting in the war. The lyrics of "Vietnam" was telling of a soldier serving there who writes to his friends about returning home. But, instead, the soldier's mother receives a telegram notifying her of his death. This song was the most-effective of the anti-Vietnam songs.

Lyrics:

Hey, Vietnam, Vietnam, Vietnam

Vietnam, Vietnam, Vietnam, Vietnam

Yesterday I got a letter from my friend fighting in Vietnam

And this is what he had to say

“Tell all my friends that I’ll be coming home soon

My time’ll be up some time in June

Don’t forget”, he said, “To tell my sweet Mary

Her golden lips are sweet as cherry”

And it came from Vietnam, Vietnam, Vietnam

Vietnam, Vietnam, Vietnam, Vietnam

It was just the next day, his mother got a telegram

It was addressed from Vietnam

Now Mistress Brown, she lives in the USA

And this is what she wrote and said

“Don’t be alarmed”, she told me the telegram said

“But Mistress Brown your son is dead.”

And it came from Vietnam, Vietnam, Vietnam

Vietnam, Vietnam, Vietnam, hey, Vietnam

Somebody please stop that war now

Vietnam, Vietnam, Vietnam, Vietnam, oh Vietnam

Vietnam, oh Vietnam, oh oh, oh oh

Somebody please stop it

Vietnam, Vietnam, oh Vietnam

Vietnam oh oh, oh oh Vietnam

Hey Vietnam, aha Vietnam, oh oh, yeah

I wanna say now somebody stop that war

Perspectives - Beatlemania: Music Through Time | Social Studies

Welcome to another post on my blog. Last week, we started a new topic in the Music Through Time unit: Beatlemania. We completed a blog post about a Beatles song, I did it about the song, "I Want to Hold Your Hand". For this post, we had to look at two perspectives for the Beatles tour of New Zealand - for and against the tour.

For Tour:

The youth of New Zealand were for and happy with the tour of the Beatles. They were fans and were crazy about the Beatles songs. More than 3 000 excited fans, mainly girls, gathered at the airport, and at least 4 000 at the Hotel St George, where the Beatles were staying. The girls screamed on seeing their idols. 

The songs of the Beatles and their contemporaries (including the local Beatles pastiche, Ray Columbus and the Invaders, with their huge hit "She's a Mod") were listened to by a generation of youths who felt that they were suddenly liberated from many of the inhibitions of their parents, and who believed that only they knew how to enjoy themselves properly.

Against Tour:

The parents, the older generation, were against the Beatles tour because their songs were inappropriate, about sex and drug use.

Some were on religious and traditional views who saw the Beatles leading to sin and trouble making. They protested with many signs.

 

Thomas Pearce, an Auckland politician said, "I welcomed home of footballers. There were all fine young men, but there was no civic or mayoral reception for them. If we are going to pander to the hysteria, antics, adulation, rioting, screaming, and roaring and all the things these bewigged musicians engender, then I think we should make a point of honouring any youths with a sporting background who are at least endeavouring to act in the best traditions of the young men of this nation."

"I Want to Hold Your Hand" - Beatlemania: Music Through Time | Social Studies

Welcome to another post on my blog. Today, we started a new topic in the Music Through Time unit, 'Beatlemania'. We looked at the social revolution between the 1950s and 1970s where the youths of that time protested restraint and lack of freedom. Also, we saw videos of the songs of The Beatles and the mental and madness of young women of The Beatles, this was called 'Beatlemania' - a term during the 1960s to describe the fan wildness and madness behaviour towards The Beatles during their early years of success. 

The Beatles 

Genius at work: (from left) Paul McCartney, Ringo Starr, John Lennon and George Harrison in 1964 (Getty)
Credit: https://www.independent.co.uk/arts-entertainment/music/beatles-best-albums-ranked-abbey-road-anniversary-paul-mccartney-john-lennon-a9108756.html

The music I chose was 'I Want To Hold Your Hand', written by John Lennon and Paul McCartney in Jane Asher's basement. She was an actress and girlfriend of Paul McCartney. 

The song "I Want to Hold Your Hand" was improved by the time the Beatles came to the studio on 17 October 1963 to record it. 

The song was played on a Washington D.C. radio station (before released in America) by a DJ who got the record from a female flight attendant. It was a huge hit with his listeners. Capitol Records threatened to seek a court order banning airplay of "I Want to Hold Your Hand", which was already being spread to a couple of DJs in Chicago and St. Louis until the Beatles appeared on The Ed Sullivan Show. That threat was ignored, and the Capitol came to a conclusion that they released the song two weeks ahead of schedule on 26 December 1963. 

The song was a hit on both sides of the Atlantic, in America, it sold more copies in the first ten days than any other Beatles single sold in the UK. In the first three days, the song had sold a quarter of a million copies.

"I Want to Hold Your Hand" was different from music from the 1940s and everything changed; long hair, weird dance moves, sexualised lyrics, and drug use. 

The music in the 1940s was dull and simple, not talking about romance and love. It was simple songs.

Here is the lyrics to the song, "I Want to Hold Your Hand";

Oh yeah, I'll tell you somethin'
I think you'll understand
When I say that somethin'
I want to hold your hand
I want to hold your hand
I want to hold your hand
Oh please, say to me
You'll let me be your man
And please, say to me
You'll let me hold your hand
Now, let me hold your hand
I want to hold your hand
And when I touch you
I feel happy inside
It's such a feelin' that my love
I can't hide
I can't hide
I can't hide
Yeah, you got that somethin'
I think you'll understand
When I say that somethin'
I want to hold your hand
I want to hold your hand
I want to hold your hand
And when I touch you
I feel happy inside
It's such a feelin' that my love
I can't hide
I can't hide
I can't hide
Yeah, you got that somethin'
I think you'll understand
When I feel that somethin'
I want to hold your hand
I want to hold your hand
I want to hold your hand
I want to hold your hand

Below is the official video of the Beatles singing the song, "I Want to Hold Your Hand".

The Haka: Ka Mate — Music Through Time: ANZAC | Social Studies

After learning about the ANZAC and the Last Post, we continue with the haka (Ka Mate). We watched the Māori Battalion Haka in Gisborne. 

Ka mate, ka mate! ka ora! ka ora! Ka mate! ka mate! ka ora! ka ora! Tēnei te tangata pūhuruhuru Nāna nei i tiki mai whakawhiti te rā Ā, upane! ka upane! Ā, upane, ka upane, whiti te ra!

'Tis death! 'tis death! (or: I may die) 'Tis life! 'tis life! (or: I may live) 'Tis death! 'tis death! 'Tis life! 'tis life! This is the hairy man Who summons the sun and makes it shine A step upward, another step upward! A step upward, another... the Sun shines!

After watching the video, we had to read the haka lyrics, research and answer some questions about the Māori Battalion and the haka, Ka Mate.

 

When King George V declared war on Germany in August 1914, he did so for Britain and his dominions and colonies throughout the Empire. Across New Zealand, thousands of men volunteered in support of their mother-country. Between 1914 - 1918, more than 120,000 New Zealanders - nearly 20% of the country's eligible manpower served with the New Zealand Expeditionary Force, the Royal Navy or units of the British Army.

While a small number of Māori volunteered to serve with regional soldier units, Britain and New Zealand continued a pre-war policy opposing the formation of an all-Māori unit to fight in a war against Europeans. Yet, by 1918, over 25,000 Māori soldiers had served overseas, the majority in what became known as the Māori Pioneer Battalion. 

It took determined political campaigning to overcome objections to forming all-Māori units. In 1914, Māori politicians like Apirana Ngata and Maui Pomare successfully argued that all New Zealanders, including Māori, should be allowed to fight in defence of the Empire. 

Despite initially being exempt from the 1916 Military Service Act, Māori from the most resistance tribes were registered for conscription in June 1917 after campaigning by Maui Pomare. However, none were forced ultimately to serve overseas.

On 14 February 1915, the first Māori troops left New Zealand on the troopship SS Warrimoo bound for assigned duties in Egypt and Malta, freeing up regular troops for the Gallipoli Campaign that began on 25 April.

Māori soldiers were soon overcome by the significant number of casualties from the campaign. Arriving at North Beach in ANZAC Cove, Gallipoli, on 3rd July, the body of troops established itself at 'Outpost No 1' which became known as 'Māori Pa'. During the assault on Chunuk Bair (war between the Ottoman Empire and the Allies - 6 August 1915 to 10 August 1915) in early August, the body of troops fought alongside other units of the New Zealand Expeditionary Force for the first time. This is also the first time many Europeans heard the Māori haka "ka mate, ka mate, ka ora, ka ora" called as they attacked the Turkish lines.

The haka, Ka Mate was composed by Ngāti Toa chief Te Rauparaha, captain of the Tainui canoe, born at Kawahi in the 1760s and died at Ōtaki in 1849. The story of the composition of Kate Mate is well known within the oral histories of Ngāti Toa and Ngāti Tūwharetoa, the two iwis (tribes) most associated with the haka's origins. Ka Mate was composed in 1820 as a celebration of life over death after his lucky escape from pursuing Ngāti Maniapoto and Waikato enemies.

The Ka Mate haka is a ceremonial Māori dance or challenge. The haka is usually performed in a group and typically represent a display of a tribe's pride, strength and unity.

The actions include foot-stamping, tongue protrusions and rhythmic body slapping to accompany a loud chant. The words of a haka often poetically describe ancestors and events in the tribe's history.

Commonly, the haka was performed when two parties met as part of the customs around encounters.

For instance, the haka was used on the battlefield to prepare warriors mentally and physically for the battle, but it was also performed when groups came together in peace. 

Today, the haka is still used during Māori ceremonies and celebrations to honour guests and show the importance of the occasion. This includes family events, such as weddings, and birthdays.

Haka dances can be performed at weddings as a show of respect, to show reverence for the couple and their guests or to mark the important milestone.

At weddings, women may also join the haka performance.

The haka is also used to challenge opponents on the sports field. The All Blacks (New Zealand Rugby Team), performs the haka before each match in a stunning show of strength and physical bravery. The All Blacks used to do the 'Ka Mate' as their haka, which has been famous all around the world since it became a part of their pregame ritual of the All Blacks.

The Black Ferns (New Zealand's Women Rugby Team) are also famous for participating the haka. The haka they perform before an international match was called 'Ko Uhia Mai' which means 'Let it be known' as was composed by Whetu Tipiwai.

References:

• http://www.ngatitoa.iwi.nz/ka-mate/the-origins-of-ka-mate
• https://www.iwm.org.uk/history/how-maori-battled-to-fight-together-in-the-first-world-war
• https://www.newzealand.com/nz/feature/haka/

Significance of WW1 - The Last Post — Music Through Time | Social Studies

Welcome to another post on my blog. Today, I completed the third post of the Music Through Time unit about the ANZACs arriving in ANZAC Cove battling the Ottoman Empire during the First World War. After learning and adding information about the Gallipoli Campaign. We need to research the battles during the Gallipoli Campaign, such as the Battle of Krithia. After, we had to listen and watch the Last Post and the Gallipoli Dawn Service.

We hear the Last Post on ANZAC Day, which occurs annually on 25 April, is played to remember the ANZAC (Australia New Zealand Army Corps) soldiers who lost their lives during the war. 

The history of the last post takes back many years back when Arthur Lane, a burglar in the British Army when he was captured by the Japanese forces during the fall of Singapore in 1942. He spent the remaining of World War II in PoW (Prisoner-of-War) camps and working on the infamous Burma railway. He still had his bugle with him and it was his task to sound the Last Post for each of his co-workers who died during those years. For the rest of his long life, he was haunted by nightmares. And he never played the Last Post again.

The sound of a solitary bugler playing the Last Post has become one of the most unique sounds in the world. The Last Post was published in the 1790s, with one of the two dozen or so bugle calls sounded daily in the British Army camps. 

Colin Dean, archivist at the Museum of Army Music in Kneller Hall says, "At that time soldiers didn't have wristwatches, so they had to be regulated in camp. They had to have a trumpet call or a bugle call to tell them when to get up, when to have their meals, when to fetch the post, when to get on parade, when to go to bed and all other things throughout the day."

This bugle call also signifies the end of the day's activities. This is now played at commemorative services such as Anzac Day and Remembrance Day (UK & Europe).

Parihaka Song — Music Through Time | Social Studies

Welcome to another post on my blog. For the past two weeks, for Social Studies, we move on from the Transatlantic Slave Trade to Parihaka and what happened there. On 5 November 1881, around 1600 British troops invaded Parihaka to take the Māori land. When the Britishers came, the Māori sat down and used the non-violent resistance tactic. We also learnt about Te Whiti and Tohu Karaka who lead the Māori peacefully protest the Britishers.

More information is given in the song and the My Map at the end of the post.

Parihaka by Tim Finn      

 

My friend, My friend, I hate to see you suffer,

Events conspire to bring us to our knees,

My friend, my friend, you've taken this the wrong way, 

Rise up, defend yourself, never give in,

Look to the sky, the spirit of Te Whiti,

The endless tide is murmuring his name. 

I know Te Whiti will never be defeated,

And even at the darkest hour,

His presence will remain.

I'll sing to you the song of Parihaka.

Te Whiti he used the language of the spirit,

Then stood accused, the madman and his dream,

He saw the train go roaring through the tunnel,

He heard the voice travel on the magic wire,

But he loved the silence of the river,

He watched the dog piss on the cannon's wheel.

I know Te Whiti will never be defeated,

And even at the darkest hour,

His presence will remain.

I'll sing to you the song of Parihaka.

One day you'll know the truth,

They can't pull out the roots,

Come and take me home,

To weep for my lost brother.

They gather still, the clouds of Taranaki,

His children's children wearing the white plume,

So take me for the sins of these sad islands,

The wave still breaks on the rock of Rouhotu.

And when you taste the salt that's on your pudding,

And when you taste the sugar in your soup,

Think of Te Whiti, he'll never be defeated,

Even at the darkest hour,

His presence will remain,

I'll sing for you the song of Parihaka,

Come to Parihaka,

Weep for my lost brother,

The spirit of nonviolence,

Has come to fill the silence, Come to Parihaka.

The message of this song is to remember what happened at Parihaka, this song explains the significance and importance of what happened in Parihaka. 

The line, 'the spirit of nonviolence, has come to fill the silence, come to Parihaka.' explains the passive resistance method - showing how to fight peacefully, using nonviolence. This line also means that when you come to Parihaka, you will find peace.

 

The line, ‘you can’t pull out the roots’ refers to their ancestors, their background, the connection to the land, our tribe. 'Rise up, defend yourself, never give in,' and 'I know Te Whiti will never be defeated, and even at the darkest hour, his presence will remain.', these lines show evidence of their determination. 

This song shows the significance of Parihaka because generations are still affected by what occurred in Parihaka and this is a well-known song. 

Spirituals — Music Through Time: Transatlantic Slave Trade | Social Studies

Welcome to another post on my blog. For the past two weeks, for Social Studies, we have been focusing on the Transatlantic Slave Trade (American Slave Trade). The slave trade triangle transported approximately 10 to 12 million slaves from Africa. This trade was triangular across 3 continents, Africa, North America and Europe.

Songs were used daily by African slaves. It was their tradition brought from Africa by the first slaves, some songs were called spirituals. Songs had many purposes like providing repetitive rhythm for repeated manual work, motivation and inspiration. 

Harriet Tubman

Harriet Tubman, also known as the 'Moses of her people,' was enslaved, escaped, and helped others to gain their freedom as a conductor of the Underground Railroad. She also served as a spy, scout, guerrilla soldier, and nurse for the Union Army during the Civil War. Harriet Tubman escaped from slavery from the south to become a leading abolitionist (a movement to end slavery) before the American Civil War. She also lead hundreds of enslaved people to freedom in the North along the route of the Underground Railroad.

Harriet Tubman in 1895

Harriet Tubman and other slaves used songs as a strategy to communicate with slaves in their struggle for freedom. Coded songs contained words giving directions on how to escape, also known as signal songs or where to meet known as map songs. 

Harriet Tubman is credited for freeing enslaved people from the south of America to Canada. She showed extraordinary ingenuity, courage, persistence (continuing something for a very long time), and iron discipline. She helped ensure the final defeat of slavery in the United States by helping the Union during the American Civil War. 

Underground Railroad

It was a system in the Northern States of America before the Civil War which escaped slaves to the North or in Canada. This was neither underground nor a railroad, this was named because its activities to be carried secret, using disguise, and because railway terms were used in the reference of the system. The network of routes extended in all directions throughout the 14 Northern states and 'the promised land' of Canada. The number of black people reached varied, from 40,000 to 100,000. 

The Underground Railroad
Credit: PBS

Spiritual Song

In Wade in the Water

Tubman used “Wade in the Water” to tell slaves to get into the water to avoid being seen and make it through. This is an example of a map song, where directions are coded into the lyrics. These are the lyrics to “Wade in the Water”

Chorus: Wade in the Water, wade in the water children.

Wade in the Water. God’s gonna trouble the water.

Who are those children all dressed in Red?

God’s gonna trouble the water.

Must be the ones that Moses led.

God’s gonna trouble the water.

Chorus

Who are those children all dressed in White?

God’s gonna trouble the water.

Must be the ones of the Israelites.

God’s gonna trouble the water.

Chorus

Who are those children all dressed in Blue?

God’s gonna trouble the water.

Must be the ones that made it through.

God’s gonna trouble the water.

Chorus

Meaning of the song

    Wade in the Water - Go in the water so the scent of them goes away, so the dogs won't find them.

    Must be the ones that Moses led - Harriet Tubman leading thousands of enslaves to escape. She used songs to send messages to slaves. 

The Significance Today in Present

People in America still argue and debate over the impacts of slavery, and there are many protests and movements, such as the Black Lives Matter movement, which use slavery that occurred in the past and is continued to be used during these protests.