Some comedians performing at the Edinburgh Festival Fringe have had to cancel shows because they believe the concerts by the band Oasis are affecting ticket sales. Comedian Kate Smurthwaite mentioned that she canceled two of her three scheduled shows because of the Oasis concerts. She explained that people are finding it hard to attend the Fringe due to the very high cost of places to stay in Edinburgh, and she thinks this is connected to the timing of the Oasis shows. She also noted that some performers have lost their places to stay because landlords are renting them out for more money to Oasis fans.

Another comedian, Zara Gladman, said that even though her show was selling out, there were still empty seats each night because people didn't show up. She thinks this might be because of a rise in COVID-19 cases. The Edinburgh Fringe Society has previously pointed out that the increasing cost of accommodation is a major problem for people wanting to attend the festival. The festival is also facing competition from other big concerts, including AC/DC, which is scheduled to perform in Edinburgh later. Oasis is playing three sold-out shows in Edinburgh, marking their return to Scotland after 16 years.

Original article

Actionable Information: There is no actionable information provided. The article describes a situation but offers no steps or advice for individuals to take.

Educational Depth: The article provides some educational depth by explaining the interconnectedness of large events (concerts) and their impact on smaller industries (comedy festivals) due to resource scarcity (accommodation). It touches upon economic principles like supply and demand affecting pricing. However, it does not delve deeply into the economic models or historical precedents for such occurrences.

Personal Relevance: The topic has moderate personal relevance. For individuals planning to attend or perform at the Edinburgh Festival Fringe, it highlights potential challenges like increased costs and competition for accommodation. For those interested in the arts or event planning, it offers insight into the complexities of managing multiple large-scale events in the same location.

Public Service Function: The article does not serve a public service function. It reports on a situation affecting performers and attendees of a festival but does not offer official warnings, safety advice, or emergency contacts.

Practicality of Advice: No advice is given in the article, so its practicality cannot be assessed.

Long-Term Impact: The article does not offer advice or actions with long-term impact. It discusses a current event and its immediate consequences.

Emotional or Psychological Impact: The article is unlikely to have a significant emotional or psychological impact. It presents factual information about a problem faced by some individuals in the arts sector without evoking strong emotions or offering solutions for emotional well-being.

Clickbait or Ad-Driven Words: The article does not appear to use clickbait or ad-driven language. The tone is informative and descriptive of the situation.

Missed Chances to Teach or Guide: The article missed opportunities to provide more practical guidance. For instance, it could have offered advice on how to find more affordable accommodation in Edinburgh during peak festival times, or suggested alternative dates for attending the Fringe if cost is a major concern. It could also have provided links to resources from the Edinburgh Fringe Society or other arts organizations that offer tips for attendees and performers facing such challenges.

The situation described in the text highlights a conflict between different cultural events and their impact on the local community and its kinship bonds. While the focus is on the Edinburgh Festival Fringe and the challenges faced by comedians, the underlying issue extends beyond entertainment and affects the very fabric of family life and community cohesion.

The high cost of accommodation and the competition from major concerts like Oasis and AC/DC create a strain on the local community. This strain disrupts the natural duties and responsibilities of families and clans. Parents and elders, who are responsible for providing a stable environment for their children and ensuring their well-being, face difficulties in securing suitable and affordable housing during the festival. This economic pressure can lead to forced dependencies on external factors, such as landlords renting out spaces at inflated prices, which fractures the sense of community and trust.

The impact on comedians and performers also reflects a broader concern. When shows are canceled or attendance is affected, it undermines the ability of artists to connect with their audience and fulfill their creative duties. This disruption can have long-term consequences on the cultural fabric of the community, as the absence of these artistic expressions may diminish the richness and diversity that contribute to a thriving society.

Furthermore, the rise in COVID-19 cases adds another layer of complexity. The pandemic has already disrupted family life and community interactions, and the continued spread of the virus poses a threat to the health and safety of elders and vulnerable members of the clan. The absence of audience members due to health concerns further weakens the bonds of trust and responsibility within the community.

The described behaviors and ideas, if left unchecked, can have detrimental effects on the survival and continuity of the local community. The erosion of family cohesion, the disruption of artistic expression, and the potential health risks all contribute to a fragile social landscape. Without a strong sense of community and family duty, the ability to protect and care for children, elders, and vulnerable members is compromised.

To restore balance and strengthen kinship bonds, it is essential to address the root causes. Local authorities and community leaders should work together to find solutions that prioritize the well-being of families and the preservation of cultural events. This may involve implementing measures to control accommodation prices, ensuring fair access to housing during festivals, and promoting initiatives that support both artists and the community.

Additionally, a renewed commitment to personal responsibility and local accountability is crucial. Individuals must recognize their duties within the clan and actively contribute to its survival. This includes supporting local businesses, artists, and initiatives that strengthen community bonds. By fostering a sense of collective stewardship, the community can protect its cultural heritage, uphold family values, and ensure the continuity of the people and the land they inhabit.

In conclusion, the described scenario serves as a reminder that the survival and prosperity of a community depend on the strength of its kinship bonds and the fulfillment of personal duties. By addressing the challenges presented and working towards a more harmonious and supportive local environment, the community can thrive, ensuring the protection of its members and the preservation of its cultural legacy for future generations.

The text presents one side of a problem by focusing on comedians' complaints about Oasis concerts. It mentions that comedians canceled shows because they believe Oasis concerts affect ticket sales. This focuses on the comedians' perspective and suggests the Oasis concerts are the cause of their problems.

The text uses speculation as fact when it says, "She thinks this might be because of a rise in COVID-19 cases." This is presented as a possible reason for empty seats, but it is not stated as a confirmed fact. It suggests a cause without providing proof.

The text uses a word trick by saying, "The festival is also facing competition from other big concerts, including AC/DC." This makes it seem like the Fringe is struggling against many big events. It highlights competition to explain potential issues, but it doesn't show if this competition is actually a major problem.

The text uses a word trick by saying, "Oasis is playing three sold-out shows in Edinburgh, marking their return to Scotland after 16 years." This emphasizes the popularity and significance of the Oasis concerts. It makes the Oasis concerts seem like a very important event, which might be used to justify the problems faced by comedians.

The text conveys a sense of frustration and disappointment felt by comedians at the Edinburgh Festival Fringe. This emotion is evident when Kate Smurthwaite explains she had to cancel shows due to the Oasis concerts, and when Zara Gladman notes empty seats despite her show selling out. The phrase "very high cost of places to stay" also highlights a problem that likely causes frustration for attendees and performers alike. This frustration serves to explain why comedians are struggling, aiming to create sympathy for their situation and perhaps a sense of unfairness. The writer uses the personal stories of Kate Smurthwaite and Zara Gladman to make this frustration more relatable, like telling a personal story to show how something affects people.

There's also an underlying tone of concern or worry, particularly regarding the rising costs of accommodation. The Edinburgh Fringe Society's statement about the "increasing cost of accommodation" being a "major problem" clearly expresses this. Zara Gladman's mention of a potential rise in COVID-19 cases also adds a layer of worry about the overall health and safety of festival-goers. These emotions of concern and worry are used to inform the reader about the challenges facing the festival, potentially prompting them to consider the difficulties faced by both performers and attendees. The writer emphasizes these problems by stating they are "major" and that comedians are "losing their places to stay," making the situation sound more serious to draw attention to the issues.

While not explicitly stated as an emotion, there's a subtle sense of competition or rivalry implied by mentioning other big concerts like AC/DC. This comparison highlights the crowded entertainment landscape the Fringe is operating within. The fact that Oasis's shows are "sold-out" and mark a significant return for the band also emphasizes the strong draw of these other events, indirectly highlighting the challenge for the Fringe. This comparison helps the reader understand the external pressures on the festival, suggesting that the Fringe is not just facing internal issues but also external competition for audience attention and resources. The writer uses this comparison to explain why the Fringe might be struggling, making the situation seem more complex.