Step Into the Strange: Oddities Expo Transforms San Antonio
SAN ANTONIO, July 21, 2025 /PRNewswire/ -- Brace yourselves for the strangest and most exciting event of the year as The Oddities and Curiosities Expo, the ultimate celebration of all things peculiar and extraordinary, visits Henry B. González Convention Center in San Antonio, TX for the first time on August 2nd and 3rd.
Tickets start at $14 and can be purchased at https://oddities.com
The Oddities and Curiosities Expo is a one-of-a-kind traveling showcase that brings together hundreds of oddity vendors and artists from across the country, creating a playground for the strange and unusual. Here, the weird, wonderful, and downright bizarre unite in a fascinating display of the extraordinary, providing a platform for vendors and artists to connect with a community of like-minded individuals.
The event will travel coast to coast, visiting 40 cities in the United States and Canada in 2025.
Attendees can browse and shop for rare and unique items, including taxidermy, preserved animal specimens, dark artistry, original horror and Halloween-inspired artwork, antiques, metaphysical accoutrements, handcrafted oddities, skulls, bones, and funeral collectibles.
Beyond shopping, the expo offers an immersive experience with photo opportunities, tarot readings, sideshow performances, and various concessions to keep attendees entertained throughout the day.
Founded in Oklahoma by Michelle and Tony Cozzaglio, The Oddities and Curiosities Expo has hosted hundreds of events across North America, recognizing a growing demand for this unique large-scale gathering.
"We created this expo to give odd small businesses and artists a space where they can thrive," said Michelle. "Our goal is to build a community where people feel safe to be themselves, surrounded by like-minded folks who appreciate the weird and wonderful."
With its strong DIY ethos and a commitment to excellence, the expo continues to grow year after year. "Our success comes from working with the best exhibitors in the world and curating every event to deliver exactly what our attendees want to see," Michelle added. "We're always looking for ways to evolve and make the experience even better for both our exhibitors and our guests."
As the original, curated event of its kind, the Oddities and Curiosities Expo remains the leading destination for the wonderfully weird.Guests of The Oddities and Curiosities Expo can also purchase tickets to a day-long taxidermy class where they can learn to make their own full-sized taxidermy mount, which will vary by city, or insect pinning class.
In all classes, hosted by The Sleeping Sirens, students will work with sustainably sourced specimens to learn the basics of taxidermy and entomology and will be provided with a variety of tools and materials.
It is important to note: All animals in the taxidermy class and other parts of the show – like preserved specimens – are sourced ethically and died of natural causes.
EVENT INFO
The Oddities and Curiosities Expo will take place Saturday, August 2nd from 10am to 6pm and Sunday, August 3rd from 10am to 4pm at Henry B. González Convention Center at 900 E Market St, San Antonio, TX. Tickets are $14 in advance or $15 at the door. Children 12 and under are free. The event is all ages - however, parents are advised to use their best judgment about if their children should attend.
Tickets can be purchased at https://oddities.com
The Jackalope Taxidermy Class will be held on Saturday, August 2nd, from 10:00 AM to 4:00 PM for $225. The Beetles and Spiders Beginner Entomology Class sessions will be held on Sunday, August 3rd, from 10:00 AM to 12:30 PM and again from 1:30 PM to 4:00 PM for $150. All classes will be hosted by Heather Clark of Sleeping Sirens Art & Oddities with built in breaks for lunch and exploring the expo. Materials and tools are provided, and tickets include admission to the expo.
For additional information, follow The Oddities and Curiosities Expo on Facebook, Instagram and TikTok.
ContactDayna Castillo press@oddities.com
View original content to download multimedia:https://www.prnewswire.com/news-releases/step-into-the-strange-oddities-expo-transforms-san-antonio-302509207.html
SOURCE Oddities & Curiosities Expo
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


TechCrunch
14 minutes ago
- TechCrunch
Spotify takes a swing at gaming with a mini golf game ahead of ‘Happy Gilmore 2' release
Netflix and Spotify have teamed up to launch a golf-inspired game as a way to promote 'Happy Gilmore 2,' the sequel to Adam Sandler's 1996 comedy film, which premieres on Netflix this Friday, July 25. This partnership represents a new venture for Spotify, as the company has never teamed up with another company to create a gaming experience within its app before. Gaming is an area Spotify has largely overlooked, so working with the streaming giant is notable, even if only for a promotional campaign as it could serve as a test to see if consumers resonated with the experience. Since the game is tied to a beloved cult classic, it also presents a unique opportunity to boost engagement. Spotify says it developed the game in partnership with MiK Studio. Image Credits:Spotify The new mini-game, titled Happy Gilmore 2 Tournament, is available exclusively within the Spotify app. To play, users must perfect their golf swing by tilting their device as they aim to complete all three holes. The game also offers a unique audio-visual experience, featuring audio clips from the movie when users complete each round, along with a personalized playlist of 'happy' tracks curated specifically for the user. Players can also discover Easter eggs, such as Happy's boots, his signature hockey stick, and an alligator. At the end of the experience, users can watch the official 'Happy Gilmore 2' trailer and share their personalized playlist and final score on social media. Techcrunch event Tech and VC heavyweights join the Disrupt 2025 agenda Netflix, ElevenLabs, Wayve, Sequoia Capital — just a few of the heavy hitters joining the Disrupt 2025 agenda. They're here to deliver the insights that fuel startup growth and sharpen your edge. Don't miss the 20th anniversary of TechCrunch Disrupt, and a chance to learn from the top voices in tech — grab your ticket now and save up to $675 before prices rise. Tech and VC heavyweights join the Disrupt 2025 agenda Netflix, ElevenLabs, Wayve, Sequoia Capital — just a few of the heavy hitters joining the Disrupt 2025 agenda. They're here to deliver the insights that fuel startup growth and sharpen your edge. Don't miss the 20th anniversary of TechCrunch Disrupt, and a chance to learn from the top voices in tech — grab your ticket now and save up to $675 before prices rise. San Francisco | REGISTER NOW While this is the first time Spotify has worked with another company to develop a gaming experience, it's worth noting that Spotify previously launched a hidden game on its platform as more of an Easter Egg. That game, released in 2023, was called 'Eat This Playlist' and was a variation of the classic Snake arcade game where players control a growing snake and avoid obstacles.


Washington Post
15 minutes ago
- Washington Post
‘South Park' makes fun of Trump over Epstein list, Paramount lawsuit
'South Park' has already begun making waves with a particularly raunchy season premiere Wednesday night. The episode took aim at President Donald Trump as his administration faces pressure to release the Epstein files and featured jabs about his Paramount settlement. 'Sermon on the Mount,' the Comedy Central show's first episode of its 27th season, repeatedly showed the 'South Park' version of Trump trying to cozy up in bed with Satan.

Associated Press
15 minutes ago
- Associated Press
Will Crutchfield's Teatro Nuovo revives Verdi's 'Macbeth' with period instruments
NEW YORK (AP) — Verdi can be played on original instruments, too. While historically informed performances of Baroque music are not surprising, Will Crutchfield and Teatro Nuovo are using period pieces for the rarely heard initial version of 'Macbeth.' 'You wouldn't think that architecture from the mid-19th century would resemble the architecture of today,' cellist Hilary Metzger said. 'The instruments and the way they had to make music back then were very different.' 'Macbeth' and Bellini's 'La Sonnambula' were presented by Teatro Nuovo last weekend at Montclair State's Kasser Theater in New Jersey and repeated this week at New York City Center. 'La Sonnambula' will be performed Thursday. 'I feel like I'm in Scotland,' said soprano Alexandra Loutsion, the Lady Macbeth. 'Modern instruments have a sharpness to them and a pristine quality that period instruments don't.' Crutchfield, 68, was a music critic for The New York Times in the 1980s. He established Bel Canto at Caramoor in Katonah, New York, in 1997, then launched Teatro Nuovo as general and artistic director in 2018, showcasing scholarship and furnishing foundations for singers. 'I got bitten with the bug of historical recordings, and I realized very early on, oh, we think are doing traditional Italian opera nowadays but really what we call traditional means the 1950s,' he said. 'What they were doing in the 1900s was totally different, radically just night and day different from the 1950s. ... and that just made me really curious. OK, if it was that different in 1910, what was happening in 1880, what was happening 1860?' Verdi emerged from Bel Canto era Crutchfield noted Bellini, Donizetti, Rossini and Verdi all were born from 1792 to 1813, and early Verdi is in the Bel Canto manner. 'The only reason we think of Verdi as belonging to another era is because he was still composing in his 80s and writing masterpieces after the others were long gone from the scene,' Crutchfield said. 'He is based on the same tradition. He learned his craft from hearing their operas.' 'Macbeth' premiered at Florence's Teatro della Pergola in 1847, just before Verdi's middle-period masterpieces. Verdi and librettist Francesco Maria Piave revised it for a run at Paris' Théâtre Lyrique in 1865 that was performed in French. The latter version, translated into Italian for Milan's Teatro alla Scala later that year, is the most common score used. Jakob Lehmann conducted the original version from the University of Chicago/Casa Ricordi critical edition. At Wednesday night's performance, Loutsion sang a high-octane 'Trionfai! Securi alfine,' a coloratura showpiece that Verdi replaced with the more dramatic 'La luce langue,' and baritone Ricardo José Rivera was menacing and mellifluous in 'Vada in fiamme,' which ended the third act and was dropped in 1865 for a duet between the Macbeths. 'The lady is a bit more unhinged in this one,' Loutsion said. 'It's basically about how she's gotten everything that she wants and she's triumphed, and nothing's going to stop them now.' Orchestra seated in early 19th century arrangement First violins were seated with backs toward the audience, facing the second violins, whose backs were to the stage. Cellos, double basses and brass were split on sides of the woodwinds in a seating Crutchfield adopted from Naples' Teatro San Carlo. 'Back in Verdi's day, the first violins were the teachers and the second violins were their students,' Metzger said. Double basses have three strings instead of four, string instruments use gut instead of metal, woodwinds are made of wood and brass have no valves. 'There's a certain clarity to it and there's a certain specificity,' chorus master Derrick Goff said. 'The English horn and the oboe sound even more plaintive to me. You can really hear the way that the composers had to write very specifically for those instruments.' An orchestra of about 53 was used for 'Macbeth' and 47 for 'Sonnambula,' accompanied by a chorus of 28, and the pitch was lower than used by modern orchestras. Men in the cast wore mostly tuxedos and women were dressed in black on a stage with a screen showing projections. Majority of money comes from donors, not ticket sales Two performances of each opera cost a total of about $1.4 million, according to general manager Cindy Marino. Ticket sales generate roughly $160,000, with the remainder raised from donors. 'We obviously want bigger choruses. We want a little bit larger orchestra,' Marino said, 'but we know financially we are trying to take it easy on increasing what we need to raise and not just jumping half a million dollars in order to grow the company.' Orchestra rehearsals started about four weeks out. The cast worked intensively on the period techniques. 'Now that I'm leaving here, I feel like I have a whole other color palette,' Loutsion said. 'The luxury of being able to dig in and all of us nerd out is awesome.'