The Art of Protest: An American Perspective on the French Retirement Strikes

The whole debacle started with a proposal by French left-wing president Emmanuel Macron to raise the age required to receive government retirement pension from 62 to 64. Given that you need to be 67 to receive your full social security pension in the United States, I was shocked to hear that this was even an issue. Now I am by no means a French legal expert, so I cannot speak much in depth of the debate on this issue. However, while retirement at 62 seems fanciful to me, I too would be furious if I had been promised it and then the president (who is quite wealthy) proposed taking it from me. 

This was the general reaction of the French public, and they expressed their anger in the way that they knew best: strikes. However, French strikes are not quite the same as those seen in America. They are typically the first step of a bargaining process, rather than a last resort. Whereas American unions tend to hold out on declaring a strike in hopes that an agreement will be reached, the French public start with strikes, almost as a reminder to the government or powerful company that they are the ones who truly hold the power, often before negotiations are made. Thus, the moment the retirement reform was proposed, the French had taken to the streets in protest in Paris. This mass public movement overtook the entirety of France, and by January 19, a national strike was declared. Not a single tram was running in the city of Montpellier where I live. Few buses were running and most businesses were closed. 

Another difference between French and American strikes that typically occur, is that French strikes have a declared end date. Whatever unions involved will declare a strike for a 24 or 72-hour period, and then business will resume as normal. This was the case at the beginning of the strikes. After a total shutdown on Thursday, everything was back up and running on Friday. However, the reason most strikes in France last a brief predetermined time is because they remind those in power of their place (in service of the people) and lead to successful bargaining and resolution. However, in this case, the French government did not stand down. Thus, another strike was announced the following week, and then the next, but the French government did not stand down, so the protests intensified.

Read More

Raising the Minimum Wage: A Must to Recover from COVID

Alongside stimulus checks and small business loans, the federal minimum wage has been a topic of popular discussion amidst the COVID-19 pandemic. Conservatives argue it is not the time to raise the minimum wage, and progressives argue it is long overdue. As we’ve watched our economy crumble over the course of one hectic year, we’ve all come to the same conclusion: something needs to change. One of those things is the minimum wage.

Read More

Racism Within the Royal Family

By: Sarah Gomez, Staff Writer

Meghan and Harry were recently able to share their story in their first public interview. The recent interview has answered many questions regarding Meghan’s experience entering the royal family, but also led to many more questions surrounding race. In the interview conducted by Oprah, Meghan brought up a conversation held between her husband and his family that discussed what the color of their children's skin will look like. This is not Meghan’s first time having to deal with racism, however the racial issues faced by her children before birth was surprising to say in the least.

Read More

The Diminishing Value of Your Vote

By: Jesse Stuart, Staff Writer

Just before his death, Osman Hamdi Bey painted a portrait of an old man attempting to train tortoises and succeeded in indirectly depicting the inherent deficiencies of a dying government. Bey was the preeminent artist during the Tanzimat, a time when the Ottoman Empire was struggling to adopt the technological innovations of Europe while preserving their sense of identity and culture. In his 1906 painting, The Tortoise Trainer, Bey displays the simple scene of an elder (who bears a resemblance to the painter himself) using a flute and vegetables to train the tortoises at his feet.

The image is a satirical one; regardless of who the man and the reptiles are meant to represent, he is an antiquated figure in antiquated garb and using antiquated techniques to coach creatures for a pointless purpose (tortoises were once used as living decorations but certainly no longer by 1906), rendering this entire moment an anachronism: there is no reform or action that the Ottoman government can take to salvage itself, as the political structures by which it operates are the very nooses slowly tightening around its neck.

You can look at The Tortoise Trainer and think of the Ottoman Empire, ‘destined’ to fall and fracture after World War One, but I see the United States in every brushstroke, a comparison quite evident not just by the candidates of the 2020 election but attitude of its voters.

Read More