Student Rebellion Occupy Campus Buildings

Archie Herrod Robinson on 1 December 2022

The environmental activist group Student Rebellion occupied multiple buildings on campus, demanding the University cuts all ties with fossil fuels. 

This began on Monday 7th November with the occupation of a lecture theatre in the Esther Simpson building. Following this, a second occupation began on Friday 11th November in the Marjorie and Arnold Ziff building, which houses management offices. 

From 8:30 a.m. on 7th November, Student Rebellion have occupied LG.08. On Monday, this meant students could not enter the lecture theatre for a 9 a.m. business lecture on consumption habits. There was a tense atmosphere in the foyer of the building, as students were refused entry to their lecture. This led to the lecture being moved online as a solution. One student whose lecture was moved online following the action told The Gryphon “They should have gone somewhere else where there are people that make decisions, not here this is just an inconvenience”. 

With Student Rebellion currently refusing to leave, there was an ongoing standoff between the activists and campus security services, with the protesters insisting the occupation will continue until their demands are met. The group has received a letter from the University threatening possible eviction of students under a possession order. The letter also outlines the prospect of disciplinary action for those involved as well as compensation for legal costs.

Student Rebellion demands three things from the University. Firstly, that it bans investments in oil, gas, coal, and mining companies. Secondly, the creation and implementation of an ethical careers policy. Finally, the refusal of all funding from all oil, gas, coal, and mining companies. These demands were articulated in an open letter to the Vice-Chancellor, Simone Buitendjik, inviting the University management to meet with them inside the occupied lecture theatre. There was no meeting between Student Rebellion and the University management to discuss the occupation. 

The group used the lecture theatre for ‘alternative education’, holding a series of lectures, workshops, and film screenings on a range of issues including climate justice, direct action and decolonisation of the curriculum. An outdoor rally in support of the students took place on campus on Thursday evening. 

Speaking to The Gryphon on the day the occupation began, one of the protesters said: “Business as usual can’t continue. The University of Leeds needs to cut ties to fossil fuels. They don’t have an ethical careers policy which allows companies like Shell to come onto our campus and to careers fairs. We think that is absolutely unacceptable in an educational institution, so we are here until the University agrees to come and speak to us and cut all ties with fossil fuels”. 

Another member of Student Rebellion commented: “I am occupying this lecture theatre because I am terrified about the climate emergency. The University claims to be a world leading institution in climate research and innovation, yet when we try to speak out about their links to fossil fuels, we are ignored and threatened. It’s just so hypocritical.”

In response, a spokesperson for the University said: “The University of Leeds Climate Plan sets out the University’s targets, actions and investments to achieving net zero by 2030.  The scope of the plan covers our teaching and research and operational activities, and our staff and student community have been involved in its development and have key roles in its implementation.”

“In line with our Climate Plan, we are reorienting our research and teaching away from the fossil fuel sector. We continue to work with energy companies when the work aims to reduce carbon emissions or accelerate the transition to a low carbon future. Since 2019, our Climate Active investment strategy means we have had no investments in any company whose primary business is the extraction of fossil fuel, or which derives significant revenue from such extraction.”

Rihanna: Pop princess to fashion and beauty mogul

Sophie Aurangzeb on 14 November 2022

Rihanna. For most of us, the name triggers echoes of the iconic early 2000s songs that we all know and love. Her empowering pop music has an undeniable universality about it, guaranteeing everyone up and dancing at a party. But more recently, Rihanna has become known for much more than her brilliant music. Six years (and counting) without a new music release and Rihanna has still managed to remain hyper relevant. Becoming a pioneering figure in fashion and beauty, her empire has allowed her to maintain her space in popular culture. 

Being surrounded by makeup throughout her career, Rihanna saw a huge gap in the market for base makeup which correctly matched deeper skin tones. The lack of products available for people of colour was problematic and astoundingly ignored. As a black woman herself, Rihanna was extremely aware of these issues, and so in 2017 Fenty Beauty was born.

Priding themselves on inclusivity, Fenty Beauty released a foundation which had 40 different shades in their first drop, which has since expanded to 50 shades. Rihanna put long-standing, established beauty brands to shame, paving the way for inclusivity in the beauty industry.

Image Credits: @fentybeauty on Instagram

Fenty Beauty completely changed the game, shaking up the beauty scene from their initial launch. The few cosmetic brands who continue to only stock a small shade range are simply regarded as tone-deaf and undoubtedly make fewer sales than those who followed in Fenty’s footsteps. This change was overdue. It would not be an overstatement to say that Rihanna single-handedly transformed the beauty industry. Using makeup, Rihanna addressed the deeper-rooted issues present within Western culture more broadly. She put a spotlight on the blatant exclusion of black people from the world of makeup, illuminating the fact that this acted as a microcosm for their dismissal from other realms too. 

Sophie Aurangzeb tracks the career of Rihanna, pop star turned beauty industry giant.

Following the complete success of Fenty Beauty, Rihanna’s mission of inclusion and black visibility didn’t stop there. In 2018, Rihanna announced the launch of her new lingerie brand Savage x Fenty. Recognising the unrealistic beauty standards upheld by the fashion industry and perpetuated by mainstream lingerie brands, Savage x Fenty was designed to make everyone feel empowered.

Image Credits: @savagexfenty on Instagram

The runway launch show at New York Fashion Week showcased a range of women which (unlike most runway shows) placed an onus on representation. When asked how she came up with the concept for the show, Rihanna said:

‘I wanted to include every woman. I wanted every woman on the stage with different energies, different races, body types, different stages in their womanhood, culture. I wanted women to feel celebrated and that we started this shit. We own this. This is our land because really it is. Women are running the world right now and it’s too bad for men.’

Rihanna’s mission to make beauty and fashion accessible to everyone is impactful and ongoing. She is using her platform to undo the damaging work of centuries of over-exclusivity in the fashion and beauty industries. She has redefined what it means to be an empowered woman. In 2021, Forbes named Rihanna the ‘wealthiest female musician in the world’, estimating her net worth at $1.7 billion. Rihanna has become a billionaire through her choice to utilise her fame to promote inclusion and include minority groups in conversations from which they have previously been ignored. Rihanna emulates a feeling that she is rooting for everyone. Regardless of your race, gender, sexual orientation or body type, you are never made to feel as though Rihanna’s products aren’t for you. 

Amyl and the Sniffers show at The Stylus let down by violent masculinity

Aimee Ferrier on 14 June 2022

I stumbled upon Australian punks Amyl and the Sniffers a few years back through their connection to Flightless Records, the independent label founded by former King Gizzard and the Lizard Wizard drummer Eric Moore. I became enthralled by recordings of the band’s raucous live performances, which featured lead singer Amy Taylor screaming lyrics about the socio-political state of Australia whilst shaking her bleach blonde mullet with an uncontainable energy. On the evening of a rather placid Sunday, I finally got to see the band in action at the University of Leeds’s very own Stylus. 

My first qualm with the night came from the support act – a local Yorkshire band called Geoffrey Oi!Cott. The four-piece made up of middle-aged balding beer-bellied white men, all sporting cricket uniforms and instruments plastered with Leeds United stickers, took to the stage chanting ‘YORKSHIRE, YORKSHIRE!’. The band began playing their poor imitation of punk with a technical skill level comparable to that of GCSE music students. I imagine their music is what non-punk fans think punk sounds like. As they sloppily made their way through their mind-numbingly dull set which consisted of songs about cricket, beer, and Yorkshire, I was left wondering where Amyl and the Sniffers had found such a poor excuse for a punk band. Furthermore, the band played a track entitled ‘Dawn of the Dickie Birds,’ a rather misogynistic tune dedicated to the women in the audience (of which there were very few, especially in comparison to the sea of ageing white male punks in the crowd) that included lyrics such as “she’s as good as it gets” and “push against the wall and tamper with your balls.” These men were the epitome of aggressive masculinity, too preoccupied with beer and their Yorkshire pride to write anything that could actually be considered true punk. Why couldn’t Amyl and the Sniffers, arguably the most successful punk band currently operating with a female lead, give this opportunity to a band with underrepresented members? After all, punk truly belongs to those of marginalised genders and races, not middle-aged white men who already dominate our mainstream. What have they got to be angry about? The rising price of beer? According to their music, that’s about it. 

Once they had finally left the stage it was time for the main act. Tearing onto the stage in a T-shirt that read ‘Fuck You You Fuckin’ Fuck,’ Amy Taylor began singing one of my personal favourites from the band, ‘Control.’ Almost instantly the crowd were slamming their sweating bodies against each other with uncontrollable excitement. I am no stranger to mosh pits and rowdy crowds, however, something about this felt different. Within the first song my friend was lifted over the barrier by security, unable to withstand the violent men that were throwing punches at every given chance. I had no intention of moshing from my place at the barrier, however, the intensity of the crowd led me to be thrown so hard that, as I write this, there are a large collection of bruises decorating my arms, legs, and hips. There was a severe lack of respect for personal boundaries and the well-being of fellow gig-goers in the crowd that left me feeling unsafe. One man, old enough to be my dad, was pressed so hard against me that I had to fight back tears. I could not concentrate on the music, sounds blended into white noise as I felt the weight of this man against me. There was definitely opportunity for him to move with the crowd, yet his front stayed firmly pressed against me. The pits were nothing more than great exertions of masculinity – men preoccupied with displaying their ability to withstand harsh crowds with no respect for those who had no interest in joining in. I was lifted out of the crowd by security with an overwhelming sense of anger inside of me. Women should be able to enjoy live music without feeling as though their bodies have been violated and made to feel at risk. It’s times like this that I don’t think men will ever truly understand the implications of their actions. 

Once I was away from the aggressiveness, I was able to actually take in what I was watching. After removing her t-shirt to reveal a sparkly bra top which accompanied her cherry-patterned short-shorts, Amy strutted around the stage with admirable confidence, flexing her arms and sticking out her tongue. The band were on top form, driving through tracks that were mainly from their 2019 self-titled album, and their newest release Comfort to Me. A standout moment of the set was their performance of ‘Knifey,’ a track about violence against women that draws lyrical parallels to fellow Australian Courtney Barnett’s song ‘Nameless Faceless.’ Hearing the voices of women dominate the audience as they shouted along to the lyrics about simply wanting to walk home safely made me feel a little less alone, particularly after what I had just experienced near the front of the crowd. The band ended their set with the killer ‘Some Mutts (Can’t be Muzzled)’ which stands out as one of their most impressive tracks. With intense guitar riffs and heavy bass, the song was the perfect outro for a high-octane performance. 

To conclude – I think Amyl and the Sniffers are incredible performers, who delivered every song with impressive stamina and energy. However, considering they have songs such as ‘Knifey,’ I would have appreciated if they were more active in looking out for the audience. It was clear that many people at the front were being squashed to the point of danger, yet they ignored this. It would have also been nice to see a support act that weren’t laughable middle-aged white male punks. You can still enjoy a punk gig without hurting people. You can enjoy it without disregarding people’s boundaries. Gigs should be places for people to collectively enjoy music they like, not fear for their safety. Sadly, I left Amyl and the Sniffers feeling upset, violated, and angry. An intense display of masculinity ruined what I hoped to be a fun night of female-centric punk. That’s not to say I wouldn’t see them again, because musically they were great. Next time I’ll be stood far away from the aging men attempting to relive their punk youths down in the pit.