Rebels With a Cause

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It'd been been a brief year since the death of Russell Jones, the Ol' Dirty Bastard and founding member of the hip-hop clique Wu-Tang Clan when, the following year, the eruption of the ghettos of Paris in flames fanned by institutional discrimination against North African and Arab immigrants brought the heritage of the hip-hop absurdist to mind again. While the teenagers of France's low-income cités grew up listening to the New York hip-hop of Ol' Dirty and his contemporaries, and their riots bear some resemblance to our own racial strife in the early '90s, there were prominent differences between the two.

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Ol' Dirty embraced the absurdist's acceptance of meaninglessness in the wake of the so-called crack epidemic. For anyone reasons - be they differing methods of immigration, differing social supports, differing circumstances or differing time periods - the riots in France were fundamentally distinct than the expressions of outrage many African-Americans articulated in the early '90s.

Ol' Dirty and his contemporaries expressed themselves straight through their music and lifestyles. Their expression was often nihilistic. Notorious B.I.G. Was Ready to Die. He wasn't alone in that sentiment. But the riots in France portend a passion for an improved community that was absent among indigent African-Americans of the early '90s. The most prominent dissimilarity between the two may be hope and despair.

While the addictive nature of crack was precisely overstated in the American media, the follow of the crack industry's turf battles and cultural diagnosis is obvious. If the devastation of the crack commerce might have been observed in inner cities throughout the United States, it can precisely be observed straight through music produced at the time. In 1992 Dr. Dre released his debut solo album, The Chronic. In 1993, Snoop Doggy Dog followed with his own debut album, Doggystyle. New York hip-hop, under pressure to match Dre's Death Row ascendancy, produced 1993's Wu-Tang debut, Enter the Wu-Tang: 36 Chambers. In 1994 Nas and the Notorious B.I.G. Released their debut albums, Illmatic and Ready to Die. Five superior hip-hop albums that irrevocably reconstructed the genre were released in less than two years. Each dealt explicitly with the business, lifestyle and consequences of crack culture and its impact on Black America. These artists were moved by what they saw as adolescents growing up, often in poverty, against the backdrop of crack culture.

While hip-hop on the Us coasts was evolving into the favorite music of today, Los Angeles experienced its own "creative explosion" while the 1992 Rodney King riots. Like today's French riots, high unemployment in South La was a valuable factor in the violence and destruction that ensued that week. Both riots can also be traced to tension with local police. In La, the acquittal of the four police officers accused in the beating of Rodney King fostered a perception of excessive force and racial profiling. The riots in Paris were triggered by the deaths of two teenagers in Clichy-sous-Bois, a poor community in an eastern suburb of Paris. The immigrant suburbs of Paris, as opposed to La in the '90s, are lawless. The zones de non-droit are policed straight through checkpoints at the outer fringes. Police do not enter these immigrant zones as a matter of French policy.

Still, despite the lack of police presence, unemployment and institutional segregation in France, the rioters, French citizens, carry entitlements that afford them a level of humanity most destitute Us citizens can only dream of. In France, a typical poor house of four has much of its rent subsidized by the government and can receive over ,200 a month in discrete government benefits. They enjoy universal national healthcare, kind retirement benefits and even more help if they're unemployed.

Moreover, while the crack epidemic in the United States is open to debate, there has been no such epidemic alleged in France. between 1992 and 2002, less than 2.2 percent of French 15-64 year olds reported experimentation with or lifetime use of heroin, Lsd or crack. As a result, the nature of the two riots, and the cultures of post-crack Us and today's French cités, are fundamentally different. While thousands of vehicles were burned in France, it appears that the rioters killed only one person. Reports on the La riots assessment between 50 and 60 lives lost. Two of the defining characteristics of the La riots were looting and the theft of luxury items. In France, the rioting was targeted toward the destruction of vehicles and civil disobedience itself.

What the cultures of post-crack Us and present-day France share is an exclusion of the underprivileged. So it's no surprise the American media have looked on the French riots with marked interest. We've seen this before: in La, in Watts, in New York. We saw what happened when the underprivileged were excluded in New Orleans. The inclination for schadenfreude with regard to the French riots has been muted by fear that today's Clichy-sous-Bois is tomorrow's Prince George's County, Maryland.

The rioters in France may have had an easier go of life than African-Americans after the crack wars. Unemployment benefits from France's social welfare ideas afford French youth benefits that most poor in the Us do not enjoy. An legal policy of segregation coupled with no discernable neighborhood police presence and pervasive unemployment are, on the other hand, no walk in the Tuileries. Still, today's French rioters have shown they are more concerned in drawing attentiveness to their plight than in the destruction of lives. Their uprising is social upheaval, lashing out against what they realize to be injustice. Ol' Dirty and impoverished blacks in the '90s - perhaps too jaded or scarred by their worlds - could not move past the self. Hopefully, France's leaders will be able to tell the dissimilarity between the '90s revolt of the meaningless in the Us and France's '00s revolt of the optimistic.

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