Foreigner to perform at Turning Stone
VERONA, N.Y. (WSYR-TV) — Foreigner, a British-American rock band, will perform at Turning Stone Resort Casino on Saturday, Sept. 20, at 8 p.m.
Foreigner was formed in New York City back in 1976. Some of the band's top hits include 'I Want to Know What Love Is,' 'Waiting for a Girl like You,' and 'Cold as Ice.'
The band was inducted into the Rock & Roll Hall of Fame as part of the Class of 2024. It has sold more than 80 million albums worldwide.
The band's current lineup includes Kelly Hansen, Jeff Pilson, Michael Bluestein, Bruce Watson, Chris Frazier, and Luis Maldonado.
Artist Presale tickets go on sale Wednesday, April 23. TS Rewards Presale tickets go on sale Thursday, April 24. Tickets will become available to the public on Friday, April 25, at 10 a.m.
You can visit this link to purchase tickets and learn more.
Copyright 2025 Nexstar Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
29 minutes ago
- Yahoo
‘Dexter's Laboratory' & ‘The Powerpuff Girls' Creators On How They Broke The System At Cartoon Network
If he was starting out today, Dexter's Laboratory creator Genndy Tartakovsky would 'make cartoon after cartoon until something hits.' That was Tartakovsky's pearl of wisdom delivered to a packed Annecy audience as he celebrated 25 years of Cartoon Network Studios with a sextet of creators of some of the biggest American cartoons of all time, including The Powerpuff Girls, Adventure Time and Steven Universe. More from Deadline From Brink Of Bankruptcy, TeamTO Unveils Six New Shows & Adult Animation Push At Annecy Neil Court Joins Coolabi As Chairman Amid 'Warrior Cats' Growth Push And M&A Opportunities "Je Suis Milhouse": Matt Groening Gets Emotional At Annecy As He Reveals The Motivation Behind The 800-Episode Longevity Of 'The Simpsons' Tartakovsky, who is also in Annecy promoting Netflix's Fixed, figures it's easier than ever to get your big break because young cartoonists can flood YouTube with ideas. 'It's partly independent now because you can make it and put it on your own kind of cable channel,' he added. 'That's what I'd do [if I were starting now]. I'd work a day job and then at night I'd make cartoon after cartoon until something hits. It was more difficult when we were coming up.' Tartakovsky is enthused by the new landscape and said he 'feels like when I was younger, I feel like that energy makes me still want to do new things.' He sat next to his old friend and The Powerpuff Girls creator Craig McCracken, who concurred, saying that for his spin-off of Foster's Home for Imaginary Friends, which he is making with Warner-owned Hanna Barbera Studios Europe, 'the energy is so Cartoon Network' on set. Adam Muto, showrunner of Adventure Time, was slightly more muted on the current state of things. 'We need to make sure people with idiosyncrasies get to have their own voices,' he said. 'But [commissioners] have to greenlight stuff. They have gotta greenlight.' 'We were breaking the system' Tartakovsky and McCracken walked the Annecy audience through how they broke the system at Cartoon Network Studios a quarter century ago when they were first starting out, with Tartakovsky describing the older generation of cartoonists back then as being 'beaten down' when he landed his Dexter's Laboratory greenlight as a young man. McCracken, who worked with Tartakosvky on Dexter's Laboratory, added: 'We were breaking the system and they didn't like that. They were survivalists and we had been given an opportunity they had been working their whole lives for. I felt a bit bad for them but we were given this golden opportunity, this one seven-minute show. And to be fair some of the old guard loved what we were doing.' Tartakosvky set the scene for the early days of Dexter's Lab, which went on to achieve the rare feat of being a primetime Emmy-nominated cartoon. 'Half the crew were high,' he joked. 'I felt like I was saying, 'Guys come on this is our one shot,' and then they wouldn't start working till 2 p.m.' He said he was 'so worried about getting fired' that he 'didn't have a minute to focus on anything apart from what I was doing.' Soon after, McCracken's Powerpuff Girls landed a greenlight, making him into a star of the animation world, but this wasn't plain sailing either. McCracken spoke of experiencing the worst focus group of his life with a group of 11-year-old boys, one of whom even called for the 'creator to be fired.' At the time, Cartoon Network executive Mike Lazzo convinced McCracken that it was better to have people hate the show than be indifferent, and he was told to push ahead. 'I had to get out of my own head and tell myself to stop being so arty,' said McCracken. 'We felt we could make cartoons at the time so we said let's make this the best thing it can be.' The pair were joined on stage by four younger cartoon creators including Muto, Regular Show's JG Quintel, Steven Universe creator Rebecca Sugar and Adventure Time's Pendleton Ward. This quartet, who were termed the 'second generation' of Cartoon Network voices, had an intriguing discussion around fear of failure. 'The first season we thought we'd get canned every moment,' said Muto. 'It was during a transitional moment [for Cartoon Network] and our shows had to be hits.' Quintel said creatives live in fear at the start of their journeys that 'if these are bad, then we're getting in trouble.' For Sugar, who is the first non-binary person to independently create a series for the network, it was 'less about competition and more about protection' at the start of her journey. 'I learned when showrunning that when there is something specific on a board, you have to think how to protect it,' she explained. Sugar was delighted to sit on the same stage as Tartakovsky. She recalled pitching him an early version of Steven Universe. When Tartakosvky said he'd direct an ep, 'I crashed my car into a pole on the way home,' Sugar added. The group were speaking at Annecy on the same day as Matt Groening. Best of Deadline Sean 'Diddy' Combs Sex-Trafficking Trial Updates: Cassie Ventura's Testimony, $10M Hotel Settlement, Drugs, Violence, & The Feds A Full Timeline Of Blake Lively & Justin Baldoni's 'It Ends With Us' Feud In Court, Online & In The Media Where To Watch All The 'John Wick' Movies: Streamers That Have All Four Films
Yahoo
35 minutes ago
- Yahoo
Learn more about the unique relationships between children and service animals on AMI's Collar of Duty Kids, debuting June 23 on AMI-tv and AMI+
TORONTO, June 10, 2025 /CNW/ - Dogs are said to be human's best friend, but what about pigs, horses, turkeys and snakes? Accessible Media Inc. (AMI), in partnership with Summerhill Media Inc. and in association with Fifth Ground Entertainment, is excited to announce the debut of the eight-episode Collar of Duty Kids, Monday, June 23, at 8 p.m. Eastern on AMI-tv and AMI+. A spinoff of the successful original series Collar of Duty, Collar of Duty Kids takes young viewers into the lives of amazing children who have been matched with extraordinary service animals. Whether it's a therapy horse helping a 13-year-old boy with Down Syndrome to find his voice, emotional support chickens acting as a cheery distraction for a young girl with Type 1 diabetes, or a service dog teaming up with a young girl with a limb difference, this series immerses viewers into the world of children and the animals that assist them. "This inclusive, fun and touching documentary series is all about the powerful pairings between children and animals, as well as the life adventures they experience together," says Cara Nye, Director, Content Development and Production at AMI. "We know our young viewers and their families will love learning these stories." "Animals are making our world more accessible for kids, and the impact is both profound and undeniable. It is also needed," says Laura Lillie, series creator and executive producer, Summerhill Media Inc. "This first all-kids season is as playful as it is educational. Get ready for the best season yet." Companies featured in Season 1 of Collar of Duty Kids include PetSmart, SARI Therapeutic Riding, Lions Foundation of Canada Dog Guides, CNIB, Horse Discovery, Dancing Goat Therapy Farm, Cambridge Butterfly Conservatory, Partners with Paws, CHEO and Holland Bloorview Kids Rehabilitation Hospital. The first three episodes of Collar of Duty Kids include: Puppy Bath Time – Monday, June 23, at 8 p.m. EasternA horse named Ace helps a 13-year-old boy with Down Syndrome find his voice. Meanwhile, it's bath time for future dog guide puppies, and things go swimmingly when service dog Atlas teams up with a young girl with a limb difference. Foster Puppy Pick Up – Monday, June 30, at 8 p.m. EasternTherapy horses Shaemus and Soleil join 17-year-old Sam as they take new steps forward on a snowy trail. It's puppy pick up day and time for eight-week-old puppy Eloise to head home with her foster family, and study buddies Lucy and service dog Elwood are crushing their first year of campus life together. Learning with Horses – Monday, July 7, at 8 p.m. Eastern A chattering of emotional support chickens is a cheery distraction for a young girl with Type 1 diabetes. Meanwhile, children are learning and feeling with horses at Horse Discovery, and William takes on his first solo musical performance with service dog Wander by his side. Collar of Duty Kids airs Mondays at 8 p.m. Eastern on AMI-tv. Stream episodes anytime, for free, on AMI+. About Summerhill Media our goal is pure entertainment, our passion is connection through story. Inspired by subtext and the sublime, we are on a mission to tell life-affirming stories, in both unscripted and scripted original programs. Our flexible and caring approach allows us to continue to work and play in an ever-evolving marketplace. Our series and award-winning docs have appeared in every major market around the world. About Fifth Ground EntertainmentThe Fifth Ground Entertainment (FGE) team brings stories to life on every screen — from factual and documentary to scripted to branded content. Toronto-based FGE is known for its award-winning television including scripted comedy series Rent-A-Goalie (Showcase, 22 industry awards noms), music documentary series The Rawside Of… (IFC, 2 Gemini noms), and critically lauded documentary series Reelside (TMN/Crave, 2 Canadian Screen Awards noms — best doc series and best directing). FGE produced kids' science adventure series Leo's FishHeads and Leo's Pollinators (nominated for a Best Children's Non-fiction CSA) for TVOkids, with Secrets of the Forest on air now and The Screen Team in production. Cloudy and The Booligans are in development. Additionally, FGE produces digital and branded content including collaborations with Spin Master, Deloitte, BlackBerry, Yahoo! and the NHLPA. FGE is also heavily involved in documentary production with a social conscience. About AMIAMI is a media company that entertains, informs and empowers Canadians with disabilities through three broadcast services — AMI-tv and AMI-audio in English and AMI-télé in French — and streaming platform AMI+. Our vision is to establish AMI as a leader in the offering of accessible content, providing a voice for Canadians with disabilities through authentic storytelling, representation and positive portrayal. To learn more visit and SOURCE Accessible Media Inc. (AMI) View original content: Error in retrieving data Sign in to access your portfolio Error in retrieving data Error in retrieving data Error in retrieving data Error in retrieving data

Yahoo
39 minutes ago
- Yahoo
Sly Stone: influential funk pioneer who embodied the contradictions at the heart of American life
There's immense variety in popular music careers, even beyond the extremes of one-hit wonders and the long-haulers touring stadiums into their dotage. There are those who embody a specific era, burning briefly and brightly, and those whose legacy spans decades. Straddling both of those, and occupying a distinctive space in popular music history, is Sylvester Stewart, better known as Sly Stone, who died at the age of 82 on Monday June 9. A pioneer of funk whose sound spread far beyond the genre, his band Sly and the Family Stone synthesised disparate strands of American popular music into a unique melange, tracking the musical and social shifts as the 1960s wore into the 1970s. Looking for something good? Cut through the noise with a carefully curated selection of the latest releases, live events and exhibitions, straight to your inbox every fortnight, on Fridays. Sign up here. A musical prodigy and multi-instrumentalist from a young age, Stone was born in Texas in 1943 and raised in California, in a religious Pentecostal family. He had put out his first single aged 13 – a locally released gospel song with three of his siblings, who would later join him in Sly and the Family Stone. A record producer and DJ by his early twenties, he imbibed the music of British acts like The Beatles and Rolling Stones, and applied his eclectic tastes and musical versatility to producing local psychedelic and garage rock acts in the emergent San Francisco scene. By the time commercial popular culture had flowered into a more exploratory 'counterculture' in 1967's Summer of Love, the ebb and flow of personnel across local bands had coalesced into a line-up including the Stone siblings – Sly, Freddie, and their sister Vaetta, with their other sister Rose joining in 1968. Pioneering socially, as well as aesthetically, Sly and the Family Stone had diversity at its core – a mixed sex, multi-racial and musically varied band. This was notable for a mainstream act in an America still emerging from the depths of segregation, and riven with strife over the struggle for civil rights. While their first album in 1967 A Whole New Thing enjoyed comparatively little traction, 1968's Dance to the Music presaged a run of hits. Their sonic collision of sounds from across the commercial and social divide – psychedelic rock, soul, gospel and pop – struck a chord with audiences simultaneously looking forward with hope to changing times, and mindful of the injustice that was still prevalent. Singles like Everyday People, Stand, and I Want to Take You Higher, melded a party atmosphere with social statements. They were calls for action, but also for unity: celebratory, but pushing the musical envelope. While the band wore its innovations lightly at first, their reach was long. Bassist Larry Graham was a pioneer of the percussive slap bass that became a staple of funk and fusion. And their overall sound brought a looser, pop feel to the funk groove, in comparison to the almost militaristic tightness of that other funk pioneer, James Brown. Where Brown's leadership of his group was overt, exemplified by his staccato musical directions in the songs, and the call and response structure, Stone's band had more of an ensemble feel. Musical lines and solos were overlaid upon one another, often interweaving – more textured rather than in lock-step. It was a sound that would reach an almost chaotic apogée with George Clinton's Funkadelic later in the 1970s. The party couldn't last. As the optimism of the 1960s gave way to division in the 1970s, Stone's music took a darker turn, even if the funk remained central. The album There's A Riot Going On (1971), and its lead single It's Family Affair contained lyrics depicting social ills more explicitly. The music – mostly recorded by Sly himself – was sparser, the vocals more melancholic. The unity of the band itself was also fracturing, under pressure from Stone's growing cocaine dependency. The album Fresh (1973) featured classics like In Time and If You Want Me To Stay, but they were running out of commercial road by 1974's Small Talk, and broke up soon after. Periodic comebacks were punctuated by a troubled personal life, including, at its nadir, reports of Stone living out of a van in Los Angeles, and arrests for drug possession. By the time he achieved a degree of stability, his star may have faded, but his legacy was secure. Stone embodied the contradictions of American popular music – arguably even America itself: brash and light-hearted on the one hand, with a streak of darkness and self-destructiveness on the other. The handclaps and joyous shouts harked back to his gospel roots, but his embrace of electric instruments aligned soul with rock and pop. He was a funk artist who played at the archetypal hippie festival, Woodstock, and a social commentator whose party sounds were shot through with urgency. He paved the way for the likes of Prince and Outkast, but also informed jazz and fusion. Jazz pioneer Miles Davis acknowledged Stone's influence on his own turn towards electric and funk sounds in the late 1960s and early 1970s on landmark albums like Bitches Brew. Sly Stone's joyful provocations may not have lasted at the commercial centre, but his mark was indelible. His struggles were both personal and social, but his sense of groove, and of a collective voice, demonstrated the value of aligning traditions with new ideas – a musical America that was fractious, but still a family affair. This article is republished from The Conversation under a Creative Commons license. Read the original article. Adam Behr has received funding from the Arts and Humanities Research Council