Afropunk Brooklyn will be returning this year for another fun-filled weekend festival of fresh talent and amazing music. The annual cultural staple will be switching up venues this summer as it will be debuting at Greenpoint Terminal Market on Aug. 26 and 27.
Afropunk was first introduced to the Brooklyn area in 2005 and has persisted as an annual arts celebration ever since. The event features diverse music, film, fashion, and art produced by alternative black artists and this year’s lineup will be highlighting two new headliners. R&B singer/songwriter Jazmine Sullivan will be making her Afropunk headliner debut, performing select music from her critically acclaimed 2021 EP Heaux Tales. Producer, Flying Lotus will also take the stage as headliner for the festival, bringing his live show to the city.
Festival goers can also look forward to an even wider range of styles and incredible performances when it comes to the rest of the Afropunk lineup. Brooklyn’s own Joey Bada$$ will make an appearance during the weekend along with acclaimed jazz singer Madison McFerrin, NY rap vets the Beatnuts and multitalented performers such as Sudan Archives and the Brooklyn-born Iniko. These artists are simply skimming the surface of what diverse acts are to be expected throughout the weekend.
As the organizers and founders claim, however, Afropunk is not just about the music. “It’s a community of people who reject societal norms and embrace their true selves, no matter what anyone else thinks. So leave the daily grind behind, let your true self shine, and party like there’s no tomorrow. This is a space where you can let your freak flag fly and be proud of who you are.”
For more information and to purchase tickets, visit here.
Original members of Talking Heads, Jerry Harrison & Adrian Belew, along with Cool Cool Cool played an incredible show at the Capitol Theatre on Sunday, June 25, filled with Talking Heads favorites on a tour highlighting Remain in Light. Cool Cool Cool performed a set of original music before accompanying Jerry & Adrian for a set of Talking Heads songs.
Cool Cool Cool started the night off with some original songs which proved to be tight and groovy. Leading the way on vocals were Shira Elias & Sammi Garett, who provided a very upbeat and fun feel. They had great stage presence and crowd control. Notably this horns section is always incredibly tight and spectacular, it consists of Chris Brouwers, Greg Sanderson, & Josh Schwartz who also took lead vocals on a few songs.
The band opened up with “Psycho Killer” which sent the place dancing. The set included fan favorites such as “Crosseyed & Painless,” “Cities,” “Once in a Lifetime,” and concluded with “Take Me To The River.” The show was high energy filled with masterful musicianship and highly psychedelic peaks in true Talking Heads Style.
The audience applauded, begging for more. The band returned to play an incredible encore which included “Drugs” & “The Great Curve.” This was the last stop of an lengthy tour which spanned many “Cities” and was truly “Once in a Lifetime”.
Setlist: Psycho Killer, Crosseyed & Painless, Houses in Motion, I Zimbra, Borna Under Punches, Cities, Rev It Up, Slippery People, Thela Hun Ginjeet, Once in a Lifetime, Life During Wartime, Take Me to the River
(Le) Poisson Rouge will present a four-night residency with New York City-based powerhouse experimental music band City of the Sun, starting on June 28.
For over 10 years, City of the Sun has been flipping the perception of what instrumental music is, attracting a new generation to the genre. Formed in 2011 by guitarist John Pita and percussionist Zach Para, the band takes influence from genres like American folk, indie rock, blues, and flamenco, creating an otherworldly and cinematic experience.
City of the Sun has been established as a powerhouse group in the post-rock sphere. Their UNTITLED EP in 2018 featured the critically acclaimed track “Perfect Instance,” leading them to release their self-titled album, also to huge praise. Their newest album Segunda Alma sees the group expanding on their experimental roots, mixing in organic house elements and other arrangements.
Additional dates for the City of the Sun residency at (Le) Poisson Rouge) include July 11, August 9 and September 12. Tickets and information can be found here.
NYC-based death-rock band Scorpion Tea has just released “Scarlet Misquote,” the first single from the band’s upcoming self-titled album. Accompanying the new single is a music video, overall just giving an introductory glimpse into the band’s full-length debut anticipated to drop October 27th.
In the first half of the song, ODowd’s tight snare roll rushes the listener into Fern Puma’s poshly-distorted bass. Seconds later, Christian Cruz’s barbed guitar cuts in like a hot knife. Soon after, vocalist Anthony Diaz chimes in with his declamatory lyrics and it’s apparent that Scorpion Tea is a special blend of death rock intoxication. The song’s construction proves to be the perfect introduction to the new hot and upcoming band.
The band stated, “During our time in LA, recording the album, Edley introduced us to the whimsical, yet dead serious routines of the legendary choreographer Bob Fosse.” explains the video’s director, Scorpion Tea vocalist Anthony Diaz. The music video explores what happens when a single baleful missive causes one’s entire understanding to unravel.
Diaz continues, talking about the dark aesthetic of Fosse’s work that resonated with the band, “The dancers in the piece seemed mesmerized, their strings pulled by an unseen force. I wanted to incorporate this idea with the hypnotic quality and longing breathlessness of ‘Scarlet Misquote,’ while still drawing on Scorpion Tea’s style of brightside-facing hilarity.”
Loaded with new content regularly (most unavailable anywhere else), the band’s ‘Dig Your Own Grave’ pass is the ultimate limited edition collector’s item for the fortunate few.
Pre-order the limited ‘Dig Your Own Grave’ pass and get “Scarlet Misquote” now plus:
As a part of her “Scarlet Tour” across North America, Grammy award-winning star Doja Cat will stop at the Barclays Center in Brooklyn on Nov. 29 with special guest and Bronx native Ice Spice. This coincides with the recent release of Doja Cat’s new track “Attention,” to critical acclaim.
With a start on Soundcloud at the age of 16 in 2013, Doja Cat first was catapulted into the mainstream through the release of “MOOO!” in 2018. One of her most popular tracks to date is the Grammy-nominated record “Say So” which has been RIAA certified 6x platinum. Doja Cat has over 20 billion worldwide streams to date.
Recently, Doja Cat was named one of TIME100’s Most Influential People of 2023, featured on the cover issue in April 2023, and performed at the TIME100 Gala in New York City. The artist has a total of 16 Grammy Award nominations, as well as nominations for 20 Billboard Music Awards, 10 MTV VMAs, nine AMAs, nine BET Awards, eight MTV EMAs, and 5 BMI Awards alongside dozens more.
Joining her on the tour are special guests Ice Spice and Doechii, who will appear at different shows in select cities during the 24-date tour. For the Brooklyn show, Ice Spice will be performing. General sale begins June 30 at 10:00 a.m., with VIP packages and experiences available. While the precise packages can vary, they may include premium tickets, a photo op in front of the stage, pre-show VIP Lounge access, and specially designed VIP gift items. For more information, visit here.
Taylor Swift is unquestionably one of the biggest artists in the world. Her most recent album, Midnights, sold over 1 million units in its first week and tickets to her Eras Tour are virtually impossible to get. One fact that even the most casual Swiftie knows, however, is Swift’s love for New York City, which she shows in her song “Welcome to New York.”
Transition to Pop
Swift cited her move to the city as the inspiration behind her 2014 album 1989. This is seen with the opening track. The upbeat song is the introduction to Swift’s first completely pop album. 1989 came after only experimenting with pop music in her previous country albums.
“With my last album Red, I kind of had one foot in pop and one foot in country, and that’s really no way to walk and get anywhere,” Swift said in a 2014 interview. “If you want to continue to evolve, I think eventually you have to pick a lane, and I just picked the one that felt more natural to me at this point in my life.”
“We Are Never Ever Getting Back Together,” the lead single for Red, lead to Swift’s first No. 1 on the Billboard Hot 100
While the pop singles from Red were a success, 1989 was Swift completely jumping into pop music, a big risk. At the time, very few artists successfully transitioned to a completely different genre. Thus, the opening track was incredibly important and needed to match the tone of the album. Swift explained that she chose “Welcome to New York” because the city is such an important part of her life.
“The inspiration that I found in that city is kind of hard to describe and hard to compare to any other force of inspiration I’ve ever experienced in my life,” Swift said about the song. “It’s like an electric city and I approached moving there with such wide-eyed optimism and sort of saw it as a place of endless potential and possibilities and you can kind of hear that reflected in this music and in this first song especially.”
“Welcome to New York” and Change
Although the song has been criticized for its relatively simple and repetitive lyrics, many listeners fail to realize the more metaphorical meaning behind the song. While it is literally about how great New York City is, Swift also uses the location to symbolize change.
In the first verse, Swift sings, “Everybody here wanted something more/Searching for a sound we hadn’t heard before.” Here, she observes how New York City is known for being where people move to follow their dreams. One of those people is Swift herself, who previously spoke about how she dreamed about living in the city.
The beginning of the chorus is the repetition of the line, “Welcome to New York, it’s been waitin’ for you.” This invokes the imagery of someone arriving and taking in the view of the city. Moving to New York to chase their dreams can also be seen as a turning point in a person’s life. This parallels Swift’s own turning point in her music career by transitioning from country to pop, something she previously only dreamed about which she also demonstrates in the chorus with the line, “It’s a new soundtrack, I could dance to this beat, beat forevermore.”
Swift additionally uses New York City to symbolize change in her life in the second verse. She sings, “When we first dropped our bags on apartment floors/Took our broken hearts, put them in a drawer.” In this line, she’s talking about how when she got to the city she left her past behind. In this context, the baggage she’s dropping off is her past country music about old heartbreaks. New York allows Swift to feel free from all of her previous issues.
Juxtaposition of the Bridge
This song is also an example of why Swift is known for her iconic bridges. While it doesn’t have the complicated lyrcism of the bridge of “cardigan,” Swift is able to embody the message of the entire song in four lines: “Like any great love, it keeps you guessing/Like any real love, it’s ever-changing/Like any true love, it drives you crazy/But you know you wouldn’t change anything, anything, anything.” This is the epitome of how Swift uses New York to represent change. However, it also spins the entire idea on its head at the same time.
New York is a great love of her life. Swift personifies the city by describing how, like a person, it can be unpredictable and is always changing. However, while it symbolizes change in the song, the city itself is also a constant because it can’t leave her like a person can. Therefore, Swift is able to write lyrics that show how the city can both symbolize change and be a comforting constant in someone’s life.
“Welcome to New York” Lyrics
Walkin’ through a crowd, the village is aglow
Kaleidoscope of loud heartbeats under coats
Everybody here wanted somethin’ more
Searchin’ for a sound we hadn’t heard before
And it said
Welcome to New York, it’s been waitin’ for you
Welcome to New York, welcome to New York
Welcome to New York, it’s been waitin’ for you
Welcome to New York, welcome to New York
It’s a new soundtrack, I could dance to this beat, beat forevermore
The lights are so bright, but they never blind me, me
Welcome to New York, it’s been waitin’ for you
Welcome to New York, welcome to New York
When we first dropped our bags on apartment floors
Took our broken hearts, put them in a drawer
Everybody here was someone else before
And you can want who you want
Boys and boys and girls and girls
Welcome to New York, it’s been waitin’ for you
Welcome to New York, welcome to New York
Welcome to New York, it’s been waitin’ for you
Welcome to New York, welcome to New York
It’s a new soundtrack, I could dance to this beat, beat forevermore
The lights are so bright, but they never blind me, me
Welcome to New York (New York), it’s been waitin’ for you
Welcome to New York, welcome to New York
Like any great love, it keeps you guessing
Like any real love, it’s ever-changing
Like any true love, it drives you crazy
But you know you wouldn’t change anything, anything, anything
Welcome to New York, it’s been waitin’ for you
Welcome to New York, welcome to New York
Welcome to New York, it’s been waitin’ for you
Welcome to New York, welcome to New York
It’s a new soundtrack, I could dance to this beat
The lights are so bright, but they never blind me
Welcome to New York (new soundtrack), it’s been waitin’ for you
Welcome to New York (the lights are so bright but they never blind me)
Welcome to New York (so bright, they never blind me)
Blanket Approval, an indie pop rock band out of NYC, is stopping in three NY destinations, Albany, Pleasantville, and NYC for its “Happy Alone Tour” this summer. A fourth destination in NY may be possible, but it has yet to be determined. This coincides with the release of their new single “Happy Alone, Pt. II.”
“Born out of the ashes of the pandemic,” Blanket Approval began to form when singer/guitarist Jack Matteucci moved to Brooklyn in 2021 and met drummer Joey Hadden. From there, they met bassist Max Mena and guitarist/keyboardist Rahul Chakraborty. Blanket Approval began rehearsing and recording in January 2022.
They had their live debut at Union Pool in Brooklyn in Spring 2022, going on to 200,000 streams on Spotify in less than 8 months, and featuring in Spotify’s Fresh Finds Indie. In 2023, they plan to release a summer EP.
Blanket Approval’s new single “Happy Alone Part II” builds from a calm, chill opening to powerful harmonies with many of the band’s members and swelling music. Chakraborty’s keyboards, which open the song and carry on throughout the piece give the song a nice echoing beat throughout.
A personal favorite part of the song are the little crescendos, which often occur after the many vocal solos of the “Happy Alone Part II,” a feature fitting given the name. The pause in the instrumentals before these provides a brief return to the more cool opening of the song before returning with the explosive clamor of the instrumentals.
Upcoming Happy Alone Tour Dates
Albany, NY – June 30
Greenfield, MA – July 1
Pleasantville, NY – July 2
Boston, MA – July 3
Burlington, VT – July 5
TBD Upstate NY, VT, NH – July 6
Randolph, VT – July 7
Southbridge, MA – July 8
NYC, NY – July 22
For more information on Blanket Approval, on tickets, and on future releases check out their website.
The definitive band of the gothic rock genre – The Cure – swept through Midtown Manhattan this past week for a three-date residency at Madison Square Garden (MSG).
Selling out arena after arena on the North American leg of their Songs of a Lost World Tour, a 34-date affair that the band embarked on in New Orleans, Louisiana back on May 10, The Cure have long since secured their legacy due to being one of the first alternative bands to break into the mainstream well over four decades ago. And as luck would have it, I found myself fortunate to provide coverage of The Cure’s second show in The Big Apple this past Wednesday evening, June 21.
Robert Smith of The Cure | Photo: Michael Dinger
The only constant member throughout the band’s storied history that began in West Sussex, England in 1978, frontman Robert Smith has been teasing since March of last year that new material, the first since their 13th studio album (4:13 Dream) was released nearly fifteen years ago, is on its way. Although fans of The Cure are still waiting for a 14th release from their beloved post-punkers, they are certainly satisfied with the progress Smith has been forging on a different front. Outspoken against Ticketmaster and their dynamic pricing model that has ticket prices fluctuating based on demand, and often to exorbitant levels, Smith fought back and guaranteed that for The Cure’s tour, tickets were only allowed to be resold at face value. And in an unprecedented response to the good fight that Smith fought for his fans, Ticketmaster issued partial refunds in mid-March to ticket holders for shows by The Cure to lessen the burden of add-on fees. Even The Cure’s tour merch was affordable, with t-shirts selling for only $25!
Madison Square Garden | Photo: Michael Dinger
Accompanying The Cure on all their US and Canadian dates are The Twilight Sad, a post-punk/indie rock quintet formed just outside of Glasgow, Scotland by vocalist James Graham and guitarist Andy MacFarlane as high school friends in 2003. The Twilight Sad and The Cure are no strangers to one another, as Smith handpicked the Scottish outfit to support The Cure back in 2016, which also included three shows at Madison Square Garden. The Twilight Sad are rounded out by Johnny Docherty (bass), Grant Hutchison (drums) and Brendan Smith (keyboards).
James Graham of The Twilight Sad | Photo: Michael Dinger
The 40-minute set kicked-off sharply at 8:00 pm with intensely thumping bass, before giving way to driving guitar, and eventually Hutchison’s pounding drums that introduced “Kill It in the Morning,” taken from their third studio album (No One Can Ever Know, 2012). At the song’s conclusion, Graham genuinely thanked the audience for being there and explained how it was such an honor for a “small band from a small town in Scotland” to be playing The Garden in New York City.
With flashing strobes offering short glimpses of each band member in otherwise green, red and blue lighting, I was immediately taken aback by the intensity of their performance, particularly that of Graham. As the band delivered “Let’s Get Lost” and “VTr,” two tracks from their most recent studio album It Won’t Be Like This All the Time released in 2019, and fifth overall, I was transfixed by his stage persona. Particularly fascinated by Graham’s sharp gesticulating and bizarre mannerisms, as if he were possessed at times, I knew then what it must have been like to have witnessed Ian Curtis (Joy Division) perform live in the late-1970s.
Andy MacFarlane of The Twilight Sad | Photo: Michael Dinger
The Twilight Sad’s emblematic depth and darkness, incorporating goth despair and 90s industrial with catchy synth and grinding guitar, was prevalent for the duration of their 8-song set. Although I was unfamiliar with The Twilight Sad before tonight, it was not very difficult to get swept up by the emotional highs and melancholic lows that songs like “That Summer, at Home I Had Become the Invisible Boy” – the band’s very first single from 2007 and a nod to the film Stand by Me – and 2014’s “There’s a Girl in the Corner” could transport a listener to. As their newest fan, I cannot wait to see what these Scottish lads have in store for us during the remainder of 2023, and beyond.
While only a recent fan of The Twilight Sad, I have been listening to The Cure since I was 14-year old boy growing up in coastal Connecticut. I do not remember exactly who introduced me to this band at the forefront of the new wave movement in 1986, but I still have a copy of one of the first compact discs that I ever bought, Staring at the Sea, a greatest hits compilation of singles that marked a decade since the band was founded, and a magnificent sampling of ‘The Cure sound’ that I continue to love 37 years later.
Robert Smith of The Cure | Photo: Michael Dinger
At approximately 9:15 pm, with the sound of rain and thunder playing over the house PA suddenly ceasing, the moment had arrived! One by one, the members of The Cure entered from stage left. The first was Jason Cooper who took to his stool behind the kit on an elevated riser at center stage. He was quickly followed by Reeves Gabrels (guitar), Roger O’Donnell (keyboards) and Perry Bamonte (guitar, keyboards) who assumed their respective positions as fans were going wild with excitement. Simon Gallup, a member of the band for all but three years of their history, strapped on his custom Schecter Ultra Spitfire bass as the entire arena held its collective breath until finally, Smith appeared from the dark shadows at the side of the stage.
Simon Gallup of The Cure | Photo: Michael DingerReeves Gabrels of The Cure | Photo: Michael Dinger
Clad in all black and donning a t-shirt depicting the famous Marilyn Monroe scene from the 1955 Billy Wilder film The Seven Year Itch, Smith wore his signature smeared red lipstick and black eyeliner as he internalized the grand spectacle that lie in front of him. For several moments, as his bandmates commenced the instrumental introduction to “Alone,” a new song that will be included on their yet to be released Songs Of The Lost World, Smith slowly walked from one end of the stage to the other, and back again. With clasped hands, he frequently paused at the edge of the stage apron as he gazed longingly into the upper levels of The Garden, a grateful expression across his face for the outpouring of support raining down on him.
Jason Cooper of The Cure | Photo: Michael DingerRoger O’Donnell of The Cure | Photo: Michael DingerPerry Bamonte of The Cure | Photo: Michael Dinger
With everyone in the house standing, classic tune after classic tune would be the overriding theme of the evening. 1989’s Disintegration made a particularly strong showing with prodigious renderings of “Pictures of You,” “Lovesong” and “Fascination Street.” The live staple “Burn,” a contribution by The Cure to The Crow’s 1994 motion picture soundtrack, featured Smith playing the penny whistle during the song’s intro. The main set was bookended with another newly recorded song from Songs Of The Lost World titled “Endsong.”
Beginning at 10:45 pm, the first of two glorious encores comprised of five songs ensued. Masters of the melodic and atmospheric, especially during their extended, trademark instrumental intros, “A Forest” closed the first encore, procured from their second studio album Seventeen Seconds released in 1980. Renowned for a catalog of introspective alternative hits that always make it into The Cure’s live agenda, the whopping nine song second encore did not disappoint, to say the least! As midnight approached on the first day of summer in Gotham, the 29-song marathon gig came to an end with a triple threat of the choicest songs – “In Between Days” (The Head on the Door, 1985), “Just Like Heaven” (Kiss Me, Kiss Me, Kiss Me, 1987) and “Boys Don’t Cry,” the title track from their first compilation released in 1980.
Madison Square Garden | Photo: Michael Dinger
Over the course of the following week, the 2019 Rock & Roll Hall Of Fame inductees’ trek across North America will continue through Pennsylvania, Maryland, Georgia and Florida, with the tour finale slated for July 1 at the Kaseya Center in Miami, Florida. After a much needed respite for the duration of the summer, the English rockers will be back on the road beginning this fall, with a headlining appearance at Riot Fest in Chicago, Illinois (September 17), followed by another headlining gig at Festival Corona Capital in Mexico City (November 19). Their calendar remains full with six additional shows slated for late-November and early-December that will take The Cure to Peru, Argentina, Uruguay, Chile, Brazil, Paraguay and Columbia. And hopefully, not before too long, fans of The Cure will be treated to their first new music since 2008 with the arrival of Songs Of The Lost World in the coming months.
The Twilight Sad Setlist: Kill It in the Morning > Let/s Get Lost > VTr > That Summer, at Home I Had Become the Invisible Boy > There’s a Girl in the Corner > I/m Not Here [missing face] > The Wrong Car > [10 Good Reasons for Modern Drugs]
The Cure Setlist: Alone > Pictures of You > A Fragile Thing > A Night Like This > Lovesong > And Nothing Is Forever > Like Cockatoos > Burn > If Only Tonight We Could Sleep > Charlotte Sometimes > Push > 39 > Fascination Street > From the Edge of the Deep Green Sea > Endsong > Encore 1: I Can Never Say Goodbye > Want > Shake Dog Shake > One Hundred Years > A Forest > Encore 2: Lullaby > The Walk > Friday I’m in Love > Doing the Unstuck > Close to Me > Why Can’t I Be You? > In Between Days > Just Like Heaven > Boys Don’t Cry
NYC-based alt pop singer/songwriter Stalking Gia has just released her newest hit single titled “Euphoria.” The song materializes aspects of art between online fantasy and Manhattan’s real-life nocturnal glow.
Gia writes, the song is “about the desire to find a deeper connection with someone and the fear of losing them. The lyrics describe the struggle to break free from the monotony of everyday life and the search for something more…. A longing to escape the mundanity of their current situation and reach a new level of intimacy.”
At age 5, Gia had her first dose of the limelight when she starred as the child lead in one of Cheerios most globally successful commercials. She was a professional Broadway actor (alongside her friend, Nick Jonas) and Top 5 Disney Radio artist with songs featured in the movie “Another Cinderella Story” starring Selena Gomez. She then lent her voice to Popstar Barbie in the 2012 animated movie Barbie: The Princess and the Popstar, which was produced by Universal Studios and premiered on Nickelodeon.
As an independent artist in 2016, she released her debut single “Second Nature,” kickstarting her viral fame and gaining her over 13.2 million streams on Spotify. It was later sampled on the single “Wish U The Best” by Blackbear, an A-List Top 40 recording artist with 20 million Spotify monthly listeners. The two artists would later tour together and collaborate for their track “Miracles” which has earned over 4.9 million streams.
Last summer, she teased a demo on TikTok using the famous nursery rhyme “Oh My Darling Clementine.” It gained traction and after getting a positive response she went on to release a full version titled “saddest happy girl.”
From co-writing with other artists for their projects to creating her own “no rules” music, Stalking Gia is a sought-after name in the game; bicoastal between New York City and the music scene of Los Angeles. Since then, she has returned to releasing music independently and continues to gain a loyal fan base.
TKTS, which revolutionized same-day discount theatre tickets for Broadway and Off-Broadway shows, has announced it is celebrating its 50th anniversary in Times Square with special activities.
The Theatre Development Fund’s TKTS will celebrate its golden anniversary behind the TKTS Booth on Broadway and 47th Street, in front of the red steps on June 28, starting at 11 a.m. The City of New York will present a proclamation to TDF which will be accepted by S. Epatha Merkerson, a two-time Tony Award nominee and beloved star of Law & Order and Chicago Med, along with other activities.
The look of the TKTS Booth may have changed over the years, but what happens at it has not. For 50 years, TKTS has provided affordable tickets to people on a budget who would not be able to attend Broadway and Off Broadway any other way. Among the many things TKTS has done over the years is to build new audiences. More than 30% of folks who get tickets at TKTS have never been to a Broadway show before. We’re proud to be able to continue to be the entry point for millions of new theatregoers and grateful to have been of service to New Yorkers, tourists from all over the US and indeed the world.
Victoria Bailey, TDF’s Executive Director.
Operated by TDF, a not-for-profit service organization for the performing arts, TKTS Times Square opened for business on June 25, 1973, and quickly became a mecca for theatergoers from all over the world. Selling same-day discount tickets, the booth is one of New York City’s most photographed landmarks. The current booth, housed under red glass steps, opened in 2008 and has garnered more than a dozen international design awards.
To date, TKTS has been responsible for 68.6 million admissions to thousands of Broadway and Off-Broadway productions, returning over $2.68 billion in revenue to those shows over the past half-century. The early supporters did not realize they were creating a phenomenon that would be replicated worldwide, and since then, booths have developed in Boston, Washington, D.C., Chicago, Denver, Pittsburgh, Philadelphia, San Francisco, Toronto, London, and Sydney.
TKTS in 1973.
The celebration in Times Square features emcee Eric Ulloa, an actor, playwright, and TDF Wendy Wasserstein Project mentor, Broadway Inspirational Voices, who will perform a medley of songs from Broadway musicals of the past 50 years, arranged by the ensemble’s artistic director Allen René Louis, and a Broadway sing along with tunes played by Marie’s Crisis pianist Franca Vercelloni. There will also be TKTS gift certificate giveaways, TKTS trivia, and a roaming photo booth.
For more information about TDF’s TKTS, visit here.
