Latest news with #MothClub
BBC News
3 days ago
- Business
- BBC News
Pubs and venues to be protected from noise complaints
Pubs and music venues will be given protection from noise complaints under planned changes to licensing the reforms, developers seeking to build near venues would be told to soundproof buildings, while permissions would be fast-tracked for new businesses or expanded outdoor areas in designated government hopes the changes will also make it easier to open new bars in disused shops, as well as promote outdoor drinking, al fresco dining and live the government said the changes would bring "vibrancy" to struggling town centres, the Conservatives said Labour's tax policy was responsible for "crippling the hospitality industry" in the first place. It comes after several well-loved pubs and music venue were left facing possible closure over noise complaints, leading to campaigns in some December, Moth Club, an independent music and comedy venue in east London, launched a petition challenging plans to build a new block of flats next door, over fears it could be shut down."Without being able to make noise, we can't make money," its manager told the BBC at the Manchester, venue Night and Day Cafe was subject to a three-year legal battle with the council over noise complaints lodged by a neighbour in was eventually permitted to continue operating as a nightclub with noise-limiting restrictions in government also hopes a planned reform of nationwide licensing regulations will help to reverse the decline in the pub industry by making it easier to open new British Beer and Pub Association says the number of pubs in the UK has steadily decreased every year since 2000, and estimated that 378 pubs would close in 2025 across England, Wales and Scotland, amounting to more than 5,600 direct job Tuesday, pub chain Brewdog was the latest to announce cuts, with 10 bars across the UK closing due to "rising costs, increased regulation, and economic pressures".Chancellor Rachel Reeves said "pubs and bars are at the heart of British life" as the government launched a consultation on the added: "For too long, they've been stifled by clunky, outdated rules. We're binning them, to protect pavement pints, al fresco dining and street parties - not just for the summer, but all year round."Andrew Griffith, the shadow business secretary, said: "Though any cutting of red tape for hospitality businesses is welcome, this is pure hypocrisy and inconsistency from Labour."He accused Labour of "crippling the hospitality industry by doubling business rates, imposing a Jobs Tax and a full-on strangulation of employment red tape".
Daily Mail
02-06-2025
- Entertainment
- Daily Mail
Aussie is praised for booing at UK comedian after 'deeply sickening' joke sparks heated back and forth in front of audience: 'That was extremely insensitive'
An Aussie disability campaigner has been praised after furiously hitting out at an English comedian over a 'deeply sickening' joke about diabetes. Carmen Azzopardi, a type 1 diabetic, was appalled when Paul Foot launched into a ten minute skit on diabetes sufferers during his show at the Moth Club in Hackney, east London, last Wednesday. Ms Azzopardi called out the comedian on stage but Foot hit back and said he disagreed his comments were 'insensitive'. In the ten minute skit, Ms Azzopardi claimed Foot 'made fun of people' who wear continuous glucose monitors - a device diabetics use to keep track of their blood glucose levels. He then mimicked a diabetic having a hypoglycaemic episode by shaking on stage, before suggesting they die after suffering a heart attack. In footage shared on TikTok by Ms Azzopardi, she could be heard booing and calling out the comedian following the skit. 'That was a s*** joke. I have type 1 diabetes, that was extremely insensitive and mis-informative,' she said. Foot hit back and said he didn't believe he was being insensitive as he attempted to continue his set. 'I don't think it's up to you to decide if it's insensitive or not,' Ms Azzopardi said. The pair continued to clash in a tense exchange as the comedian argued 'comedy is subjective' while the audience could be heard nervously laughing intermittently. Foot went on to blame her for the show's 'awkward' ending. 'Due to the failure of you to grasp that simple intellectual point, cause you fail to grasp the difference between these issues, cause of that it's ending in an awkward way,' he said. Ms Azzopardi said her friends urged her to leave the gig, but she wanted to stand her ground and avoid the comedian making fun of her once she had left. Foot then called out Ms Azzopardi for talking while he was finishing up his set and said they would never agree over his comments as he was sharing 'an intellectual argument' while she was on 'the emotional side'. The disability campaigner explained why she was angered by Foot's comments in a video following the exchange. 'All in all, deeply embarrassing for him, deeply deeply sickening to witness as someone who is living with that disease,' Ms Azzopardi said. 'It's probably one of the most blatant acts of ableism that I have ever personally experienced since being diagnosed with this illness, because that's what it is, it's an illness, not a punch line to a joke.' Social media users overwhelmingly agreed with Ms Azzopardi. 'Is the joke in the room with us? I don't understand which part is meant to be funny. Well done for calling him out!' one said. 'This is so weird? Did someone with diabetes break up with him? This is such a random gripe to have,' another wrote. 'Why were people laughing? Not a single thing in this clip was funny,' a third added. 'I have type 1 diabetes and I used to do stand up and there is a way to make tasteful jokes about YOUR own illness and experience but this ain't it,' a third said. However, disagreeing with the campaigner, one wrote: 'God forbid a comedian tells a joke.'
New Statesman
23-04-2025
- Entertainment
- New Statesman
I loved performing again, but it reminded me to keep one foot in normal life
Illustration by Charlotte Trounce I ended my last column on a bit of a cliffhanger, heading towards performing a gig for the first time in 25 years, at the Moth Club in east London, and not sure how it would go. I was full of determination, and anxiety, and the two were held in an extremely precarious balance. The morning of the first show I was on the verge of a panic attack, wondering if I'd made the biggest mistake of my life, when Ben calmed me down by playing the piano and getting me to sing with him. It reminded me: 'This is what we do, what we've always done.' I'm not going to review my own gig, but I'm happy to report that the two nights went well – more than well, in fact: they went better than I could have hoped. I not only got through it but loved every second, had no memory of why I'd ever thought I didn't like performing live. I couldn't wait to do the second night, and then wished we were doing a third. I'd been terrified, I suppose, of things going wrong, but had worked hard on persuading myself that it didn't matter if things went wrong. Music can be imperfect and still be wonderful; a performance can be meaningful and important, while still being full of inevitable human flaws. In the end, quite a lot of things did go wrong, and none of it mattered. I'd put my back out the week before, spent two or three days tanked up on painkillers and Valium, and done the final rehearsals sitting down. I realised I liked sitting down. So we took with us the chair I'd been using – an old chair from home, one whose legs we hadn't checked recently. During the soundcheck a screw fell out, and the chair half collapsed beneath me. Fun if it had happened mid-song. We had to change other things at the soundcheck too. The four of us had got used to rehearsing in a particular pattern at home, but that didn't work on the stage, so we all had to swap positions. It didn't matter. The mic I took with me – my old mic from 30 years ago, my comfort mic – sounded wrong in the club, so I was given a new one, which once upon a time would have freaked me out. But that didn't matter either. I won't say the shows were a triumph, as I don't trust in triumphalism. Maybe it scares me; too close to hubris. In a room full of people cheering you on, you can start to feel important. You can start to take yourself seriously. On the poster outside the club, my name was spelled wrong. Ben and I got a cab home afterwards, and as we got out of the car the driver said: 'Love your music by the way. That band you were in, Anything But the Girl, great stuff.' We smiled and thanked him, and laughed as we walked in the front door. I was reminded of some lines from a song we'd sung earlier in the night by Charli XCX – 'I am famous, but not quite./But I am perfect for the background,/One foot in a normal life'. Subscribe to The New Statesman today from only £8.99 per month Subscribe We sat in the kitchen, eating some toast, and I was glad Ben had talked me down from my panic attack and got me onto the stage. I said to him that I kept thinking of another song, by the folk singer Devon Sproule, from a few years ago, which has a chorus that goes: 'If you dress sharp, play well, be modest/And keep good what you have/When you're warmed up, in a wood room/What could be better?' And we both agreed, yeah, there's nothing better, is there. You have to keep one foot in a normal life, like Charli says. It's the only way to survive. But when music is working, when you're warmed up, and playing well, it just feels transcendent, like you've stepped out of time and space and into something mysterious and fleeting that you wish you could hold on to forever before it slips away, out of reach. It's magic really, isn't it? I want to do it again now. [See also: Samuel Beckett's art of reduction] Related
