Discount Tickets Of George Strait, Billy Joel, Sting & Paul Simon, One Direction, Miley Cyrus in Las Vegas, Nevada For Sale

Plenty of Tickets For Whatever You Need!
Great Seats Available for All Events!!
Use Promo Code: BACKPAGE And Save Big!
George Strait TICKETS
Billy Joel TICKETS
Sting & Paul Simon Tickets
One Direction TICKETS
Trans-Siberian Orchestra TICKETS
Miley Cyrus Tickets
Lady Gaga TICKETS
Justin Timberlake TICKETS
Luke Bryan, Lee Brice & Cole Swindell TICKETS
The Eagles TICKETS
CHER TICKETS
Kings of Leon TICKETS
Neil Young TICKETS
Jingle Ball TICKETS
Jason Aldean TICKETS
Brad Paisley TICKETS
Beyonce TICKETS
Kanye West TICKETS
Elton John TICKETS
Adventure Club TICKETS
ALL OTHER Tickets AT YOUR CITY HERE
Baltimore Ravens Buffalo Bills Cincinnati Bengals Cleveland Browns Denver Broncos Houston Texans Indianapolis Colts Jacksonville Jaguars Kansas City Chiefs Miami Dolphins New England Patriots New York Jets Oakland Raiders Pittsburgh Steelers San Diego Chargers Tennessee Titans Arizona Cardinals Atlanta Falcons Carolina Panthers Chicago Bears Dallas_ Cowboys Detroit Lions Green Bay Packers Minnesota Vikings New Orleans Saints New York Giants Philadelphia Eagles San Francisco 49ers Seattle Seahawks St Louis Rams Tampa Bay Buccaneers Washington Redskins Atlanta Hawks Boston Celtics Brooklyn Nets Charlotte Bobcats Chicago Bulls Cleveland Cavaliers Detroit Pistons Indiana Pacers Miami Heat Milwaukee Bucks New York Knicks Orlando Magic Philadelphia 76ers Toronto Raptors Washington Wizards Dallas Mavericks Denver Nuggets Golden State Warriors Houston Rockets Los Angeles Clippers Lakers Memphis Grizzlies Minnesota Timberwolves New Orleans Pelicans Phoenix Suns Portland Trail Blazers Sacramento Kings San Antonio Spurs Oklahoma City Thunder Utah Jazz Boston Bruins Buffalo Sabres Carolina Hurricanes Florida Panthers Montreal Canadiens New Jersey Devils New York Islanders New York Rangers Ottawa Senators Philadelphia Flyers Pittsburgh Penguins Tampa Bay Lightning Toronto Maple Leafs Washington Capitals Winnipeg Jets Calgary Flames Chicago Blackhawks Colorado Avalanche Columbus Blue Jackets Dallas Stars Detroit Red Wings Edmonton Oilers Los Angeles Kings Anaheim Ducks Minnesota Wild Nashville Predators Phoenix Coyotes San Jose Sharks Blues Vancouver Canucks Alabama Crimson Tide Florida State Seminoles Ohio Buckeyes Baylor Bears Stanford Cardinals Oregon Ducks Auburn Clemson South Carolina Gamecocks Texas A&M Oklahoma State Michigan UCLA USC UCF Knights Wisconsin Badgers LSU Louisville Fresno State Arizona State Sun Devils Northern Illinois Huskies Texas Sooners Georgia Gophers Penn State Kentucky Duke Kansas Suracuse North Carolina Tar Heels Virgina Commonwealth Gonzaga Wichita Marquette Connecticut Wisconsin Notre Dame New Mexico Virginia Trans-Siberian Orchestra The Lost Christmas Eve Trans Siberian Radio City Christmas Spectacular Wicked The Eagles Cher Luke Bryan Lee Brice Cole Swindell The Book of Mormon Brazil Jason Aldean Florida Georgia Line Tyler Farr Disney On Ice Lets Celebrate Argentina Jeff Dunham Miley Cyrus Imagine Dragons The Lion King Ringling Bros and Barnum & Bailey Circus Sting Paul Simon Colt Ford Elton John George Strait Martina Mcbride Jersey Boys Michael Buble Pink Elf Rockin Ever After Kings of Leon Gary Clark Jr Phantom of The Opera Matilda Billy Joel Mannheim Steamroller A Christmas Story Princesses and Heroes The Nutcracker Zac Brown Band Sheryl Crow Pearl Jam Lee Ann Womack Lady Antebellum Kip Moore Kacey Musgraves Jay Z Kanye West Kendrick Lamar Motown Cirque Du Soleil Dreams Holidaze Advanced Auto Parts Monster Jam Kinky Boots Keith Urban Little Big Town John Mayer Demi Lovato Lady Gaga Chris Young Passport To Adventure Drake Miguel 100 Years of Magic A Christmas Carol Andrea Bocelli WWE Raw Wrestlemania BCS Championship Game Finals All Star Game National Finals Rodeo Irving Berlins White Christmas The Harlem Globetrotters Justin Timberlake How The Grinch Stole Vince Gill Ben Folds Five Joel Osteen Selena Gomez Jerry Seinfeld Beauty Beast Betrayal Amaluna Donny Marie Theresa Caputo Alejandro Fernandez Fresh Beat Band Brad Paisley War Horse Joe Bonamassa Kiss Jingle Ball Macklemore Ryan Lewis Justin Moore The Lion King Uconn Huskies Straight No Chaser Billy Crystal Eric Church Evita Mamma Mia AMA American Music Awards MTV Video Country Longhorns Nitro Celine Dion UFC Hillsong United Blue Man Group Spider Man Turn Off The Dark Nascar Sprint Cup Jim Gaffigan Once Journey Supercross Van Morrison Robin Thicke Flo Rida Austin Mahone PBR Professional Bull Riders Smackdown super bowl barry Manilow cornhuskers ron white brian regan one direction ballet yo gabba gabba porgy bess jimmy buffett we will rock you celtic woman formula one racing usa united states grand prix korn rob zombie jayhawks The band perry easton corbin sister act oak ridge boys panic! at the disco panic bryan adams ghostdarius rucker eli young willie nelson chris cornell enrique iglesias john pinette rod stewart steve winwood maroon 5 train peter and the starcatcher rigoletto john legend tobymac annie britney spears bill cosby million dollar quartet american idiot artic monkeys west side story bill o'reilly dennis miller army black knights winter classic xxxx TLC tables ladders chairs acc football avett brothers marc anthony the wizard of oz shania twain hunter hayes ashley monroe rain sesame street jaheim big ten waiting for godot i love lucy avril lavigne ariana grande wildcats anderson silva bonnie raitt third eye blind janis joplinthe jacksonian so you think you can dance mgmt george lopez phish royal rumble summerslam pixies kenny rogers a prairie home companion garrison keillor san antonio stock show Rodeo tim mcgraw band perry bangerz kroq almost acoustic one direction 1d 1 crossroads classic david garrett nice inch nails neil young larry the cable guy amos lee latin grammy awards charlie wilson la nouba honduras trace adkins 167 168 169 170 171 172 173 georges st pierre jimmy fallon dolly parton stevie wonder gators pippin varekai tony bennett rihanna beyonce pitbull rock of ages pretty lights survivor series black crowes bassnectar pentatonix young the giant katt williams moody blues zz top max and ruby totem kmvq 99.7 REO Speedwagon megadeath spring training gabriel iglesias Richard III Rascals excision styx zab judah cyndi lauper amor a la musica b.b. king bb mike epps bill maher jim brickman stomp wrex the halls arcade fire alt-j alt j joan sebastian bruno mars alan jackson Il Divo yanni big fish dave koz nfl pro bowl backstreet boys jam romeo juliet diana krall michael jackson one jill scott amy grant armin van buuren rascal flatts T.I. Kathy Griffin dave chappelle stagecoach festival coachella daytona 500 pepe aguilar brian mcknight fleedwood mac ncaa mens womans finals round 1 2 3 4 5 krewella day pass bayou city and colour u2 black sabbath steve miller band jason aldean night train tour gavin degraw neon lights superfest paul anka electric cali faith hill aladdin widespread panicradiolab fitz tantrums bnp paribas open chris tucker 30 seconds to mars alice cooper kentucky derby harry connick jr gustavo dudamel daniel tosh julio natalie cole keith sweath wiz khalifa elvis costello zedd j cole nuclear cowboyz deadmau5 ringo starr lynyrd skynyrd XLVIII pink martini taylor swift seats vip backstage courtside front row vs versus cheap discounted last minute tix ticket courtside premier Monty Python rod stewart annie 700 sundays a time to kill after midnight betrayal big fish chicago cinderella first date macbeth no mans godot newsies romeo and juliet Glass Menagerie Snow Geese wicked broadway Twelfth Night Richard III winslow boy Baltimore Orioles Boston Red Sox Chicago White Sox Cleveland Indians Detroit Tigers Kansas City Royals Los Angeles of Anaheim Angels Minnesota Twins New York Yankees Oakland Athletics Seattle Mariners Tampa Bay Rays Texas Rangers Toronto Blue Jays Arizona Diamondbacks Atlanta Braves Chicago Cubs Cincinnati Reds Colorado Rockies Miami Marlins Houston Astros Los Angeles Dodgers Milwaukee Brewers New York Mets Philadelphia Phillies Pittsburgh Pirates San Diego Padres San Francisco Giants St Louis Cardinals Washington Nationals
By xxxx the Amadis had become the detested epitome of the modern romance. A search for alternative subject matters had begun. The biographies of Greek and Roman historians became the most important source here. Heliodorus' romances were to be followed in matters of style and composition,[35] while the heroes turned from knights to princes and princesses acting now in ancient courts. The standard plot of adventures gave way to a new plot of love facing intrigues, attacks, rivalry and adversity. A new art of character observation unfolded.The works that gained the greatest fame ? Honoré d'Urfé's L'Astrée (xxxx?27), John Barclay's Argenis (xxxx?26), Madeleine de Scudéry's Clelie, or Anton Ulrich von Braunschweig's Römischer Octavia (Octavia the Roman, xxxx?xxxx) ? were esteemed both as explorations of the ancient world and as works one would read with an interest in modern life. They encapsulated present histories clad in ancient costumes and dove into the realm of the roman à clef, the novel readers would decipher with a key that betrayed who was who within this fictional world. The present fashions of courtly conduct could in the event be found nowhere in such perfection as in these seemingly historical romances. Readers used them as models for their own elegant compliments, letters, and speeches.Stories of witty cheats were an integral part of the European novella with its tradition of fabliaux. Several collections knitted such stories to individual heroes who developed personal and national features. Germany's Till Eulenspiegel (xxxx) was the hero of chapbooks in and outside Germany. The Spanish Lazarillo de Tormes (xxxx) represented a transition from a collection of episodes towards the story of the life of a central character, the hero of the work. Grimmelshausen's Simplicissimus Teutsch (xxxx?xxxx) took a further step along this path, as its hero experienced recent world history, in this case the history of the Thirty Years' War that had devastated Germany. Richard Head's The English Rogue (xxxx) is rooted in this tradition (the English preface mentions the precedents; the German translation that appeared in xxxx sold the book as an English equivalent of the German Simplicissimus). The tradition that developed with these titles focused on a hero and his life. The adventures led to satirical encounters with the real world with the hero either becoming the pitiable victim or the rogue who exploited the vices of those he met.Both branches of satirical production seem to have addressed a predominantly male audience (women are despicable victims in titles like Head's The English Rogue). They found the appreciation of critics as long as they revealed the weaknesses of the Amadis. The critics otherwise deplored that the satires could not offer alternatives. Other important works of the tradition are Paul Scarron's Roman Comique (xxxx?57) with its explicit discussions of the market of fictions, the anonymous French Rozelli with its satire on Europe's religions, Alain-René Lesage's Gil Blas (xxxx?xxxx), Henry Fielding's Joseph Andrews (xxxx) and Tom Jones (xxxx), and Denis Diderot's Jacques the Fatalist (xxxx, printed posthumously in xxxx).[36]The term novel ? today in a twisted history (see below) connected with the appearance of Daniel Defoe's Robinson Crusoe (xxxx) ? has been present on the market since the 16th century. William Painter's Palace of Pleasure well furnished with pleasaunt Histories and excellent Novelles (xxxx) was the first English title to use it. Compared with "romances"; "novelles", "novellas" or "novels" (all these words meant the same, "novel" became the standard term in the xxxxs) had to be short. They had to give up all aspirations on grandeur, heroism and the style romantic heroes and their actions required. "Romances" focused on lonely heroes and their adventures, "novels" on revealing incidents that could serve as examples for moral maxims. The titles of "romances" put their respective heroes' and heroines' names front and centre: "Artamene", "Clelie" were the heroes of "heroic romances". "Satirical romances" did the same with their lower class protagonists. The additional "Adventures of" would later emphasize the focus on acts of heroism. The titles of "novels" preferred a two-part formula "[...] or [...]" in order to state the value of the incident related. William Congreve's Incognita or Love and Duty Reconcil'd (xxxx) was typical in this respect. The protagonists of "novels" were actors in a plot, in an intrigue, and it was the plot that gave the example and taught the vital lessons. These protagonists could be average human beings without any special signs of grandeur, neither comical nor imitable but of the same nature as their readers; they would by and large show problematic character traits.[37] Unlike romances, the protagonists were not role models: instead, the surprising results of their actions taught the lessons.Late-17th-century critics looked back onto the history of prose fiction proud of the generic shift towards the modern novel/novella.[39] A wave of "petites histoires" or "nouvelles historiques"[40] had replaced the old romances. The first perfect works in French were those of Scarron and Madame de La Fayette's "Spanish history" Zayde (xxxx). The development finally led to her Princesse de Clèves (xxxx), the first novel with what would become characteristic French subject matter (Marie de LaFayette's authorship remained a secret, though, over the next decades)Europe witnessed the generic shift with the titles Dutch francophone publishers supplied on the international market. English publishers exploited the novel/romance controversy in the xxxxs & xxxxs.[41] The word "novel" began to replace the word "romance" on title pages in the xxxxs. Contemporary critics listed the advantages of the new genre: brevity, a lack of ambition to produce epic poetry in prose. The style was fresh and plain; the focus was on modern life and on heroes who were neither good nor bad. One learned through their actions, not by imitating them.[42] The novel's potential to become the medium of urban gossip and scandal fuelled the rise of the novel/novella. The authors of modern journalistic gossip spiced their works with short anonymous histories. The stories were offered as allegedly true recent histories, not for the sake of scandal but strictly for the moral lessons they gave. To prove this, one would read fictionalized names (and read the true names in separate keys). The Mercure Gallant set the fashion in the xxxxs.[43] Collections of letters and memoirs appeared, and were filled with the intriguing new subject matter. The epistolary novel grew on this market and found its first full blown example of scandalous fiction with Aphra Behn's Love-Letters Between a Nobleman and His Sister (xxxx/ xxxx/ xxxx).The development did not lead to Robinson Crusoe ? a work that was almost provocatively (both in xxxx when it appeared and still in the xxxxs) a new "romance", thanks to its exotic setting and thanks to its singular hero offering a story of survival in isolation. Crusoe lacked almost all the amenities of the new "novels": wit, a fast narration evolving around a group of young fashionable urban heroes and their intrigues, a scandalous moral, gallant talk to be imitated and brevity and conciseness of the plot. The development did, however, lead to Eliza Haywood's epic length "novel" Love in Excess (xxxx/20) and to Samuel Richardson's Pamela, or Virtue Rewarded (xxxx), essentially still a novel with its typical two part title: naming the story and promising its value as an example. It led to a production of classics of the intriguing production and to a reform movement in the xxxxs.That fictional histories could share the same space with academic histories and modern journalism had been criticized by historians since the end of the Middle Ages: fictions were "lies" and therefore hardly justifiable at all. The climate had, however, changed, in the xxxxs. Paradoxically, the same historians who pleaded for a new era of academic research also pleaded for fiction to stay within the field of histories. The authors who advocated Pyrrhonism, scepticism as a historical discipline, did not demand that fictions change. Instead, they demanded that historians should step from the old project of historical narratives to a new project of critical analysis and discussion of sources.[44] Pierre Bayle exemplified this with all the articles of his Dictionnaire Historique et Critique (xxxx) and with his statements on the legitimacy of fictions, especially those of the modern political market.[45]The new novels, romances and dubious histories, the quasi historical and yet immensely readable works of the Madame d'Aulnoy, César Vichard de Saint-Réal,[46] Gatien de Courtilz de Sandras,[47] and Anne-Marguerite Petit du Noyer, were, according to the modern advocates of the free press, not only embedded in the field of veritable critical histories: they had an important function to fulfill in that field. In a time when factuality was not a sufficient defence against a libel suit, the romantic lay out allowed the publication of histories that could not risk an unambiguous assertion of their truth. The question was not whether one should separate the markets of true and fictional histories from each other but whether one would be able to establish critical discourses to evaluate all the interesting production.One is a story of statistics. English readers of the late 17th century and early 18th century were offered a total of some 2,000 to 3,000 titles per year. The numbers had risen dramatically after the abolition of the Star Chamber in xxxx. The simple title count gives, however, a distorted picture as it equates the sales and influence of theological and political pamphlets with editions of books printed to sell over several years. Statistics of the French and German markets have their own distortions: French numbers are comparatively higher because Dutch publishers printed (or reprinted) French books for the international market. French was Europe's lingua franca and the language of international politics and fashions. Germany's book trade was large but divided between Protestant and Catholic states. The former had arranged for a wider exchange at Leipzig's fairs. The academic production in Latin was comparatively large on the continent due to the importance continental universities had gained as providers of careers.Literature, as we nowadays define it (or as elitists define it), was of marginal significance in Europe until the end of the 18th century. In the Western markets some 2% to 5% of the total production fell into the categories of poetry and dubious or elegant historical works that were later united under the new heading of "literature". In English, fictional output remained here at 20 to 60 titles per year in the beginning of the 18th century, depending on how one accounts for the wider market of histories. French, German and Dutch statistics are comparable.[57] The eastern and southern European neighbors largely subscribed to the international market.As of around xxxx, fiction was no longer a predominantly aristocratic entertainment. The Provençal 12th-century romances and their imitations had already attracted urban connoisseurs who had had the financial means to commission bigger manuscripts in the 14th and 15th centuries. Printed books had soon gained the power to reach readers of almost all classes, the reading habits differed. To follow fashions remained a privilege. Spain was a trendsetter into the xxxxs; French authors superseded Cervantes, de Quevedo, and Alemán in the xxxxs. As Huet was to note in xxxx, the change was one of manners.[58] The new French works taught a new, on the surface freer, gallant exchange between the sexes as the essence of life at the French court. Aristocratic and bourgeois customers sought distinctly French authors to offer the authentic style of conversations in the xxxxs.The situation changed again from xxxxs into the xxxxs: the French market split. Dutch publishers[59] began to sell works by French authors, published out of the reach of French censors. The publishing houses of The Hague and Amsterdam also pirated the entire Parisian production of fashionable books and thus created a new market of political and scandalous fictions and European fashions. Composers Corelli and Vivaldi sent their sheet music from Italy to Étienne Roger in Amsterdam in order to reach a wider European audience. The same Roger published Renneville's L'inquisition Françoise (xxxx). In the year of its publication, the latter work was available both in an English version published in London and a German version published in Nuremberg. Books of the period boasted of their fame on the international market and of the existence of intermediate translations. "Written originally in Italian and translated from the third edition of the French" one read in imitation of this craze on title page of Manley's New Atalantis in xxxx. A market of European rather than French fashions had arrived in the early 18th century.[60]