Janet Jackson Concert Unbreakable Tour Tickets at Bill Graham Civic Auditorium in San Francisco in San Francisco, California For Sale

JANET JACKSON UNBREAKABLE TOUR TICKETS
Janet Jackson Tickets
Bill Graham Civic Auditorium
San Francisco, CA
Tuesday
10/13/xxxx
8:00 PM
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Janet Jackson Tickets
Bill Graham Civic Auditorium
San Francisco, CA
Wednesday
10/14/xxxx
8:00 PM
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If you are a Janet Jackson you will not want to miss out on the opportunity to attend one of the concerts. The best seats (such as Meet & Greet Tickets, Fan Packages, front row seats, or VIP tickets when available) may sell out quickly so grab up your concert tickets early before Tickets sell out.
We offer a wide assortment of tickets offered by each hosting venue. The assortment of concert tickets offered by each hosting venue differs. Depending on the venue this might include the best Presale Concert Tickets, Fan Packages, Vip Tickets, Field Concert Tickets, Upper & Lower Balcony Tickets, Orchestra Tickets, Pit Tickets, Loge Tickets, Mezzanine Tickets, Lawn & General Admission Concert Tickets, SandBar Tickets, Meet and Greet Tickets, and all premium seating options made available.
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Updated Janet Jackson Concert Tickets Unbreakable xxxx & xxxx Tour
Janet Jackson Tickets Unbreakable Tour!
Janet Jackson Tickets
Scotiabank Saddledome
Calgary, Canada
Wednesday
9/2/xxxx
8:00 PM
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Rexall Place
Edmonton, Canada
Friday
9/4/xxxx
8:00 PM
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Revolution Place
Grande Prairie, Canada
Saturday
9/5/xxxx
7:30 PM
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SaskTel Centre
Saskatoon, Canada
Monday
9/7/xxxx
7:00 PM
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Van Andel Arena
Grand Rapids, MI
Friday
9/11/xxxx
8:00 PM
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PNC Pavilion At The Riverbend Music Center
Cincinnati, OH
Saturday
9/12/xxxx
8:00 PM
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Air Canada Centre
Toronto, Canada
Tuesday
9/15/xxxx
8:00 PM
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Walnut Creek Amphitheatre
Raleigh, NC
Thursday
9/17/xxxx
8:00 PM
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PNC Music Pavilion - Charlotte
Charlotte, NC
Friday
9/18/xxxx
8:00 PM
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American Airlines Arena
Miami, FL
Sunday
9/20/xxxx
8:00 PM
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Amway Center
Orlando, FL
Wednesday
9/23/xxxx
8:00 PM
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Amalie Arena
Orlando, FL
Thursday
9/24/xxxx
8:00 PM
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Chastain Park Amphitheatre
Atlanta, GA
Saturday
9/26/xxxx
8:00 PM
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Ascend Amphitheater
Nashville, TN
Sunday
9/27/xxxx
8:00 PM
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Fedex Forum
Memphis, TN
Tuesday
9/29/xxxx
7:00 PM
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Smoothie King Center
New Orleans, LA
Wednesday
9/30/xxxx
8:00 PM
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Bill Graham Civic Auditorium
San Francisco, CA
Tuesday
10/13/xxxx
8:00 PM
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Bill Graham Civic Auditorium
San Francisco, CA
Wednesday
10/14/xxxx
8:00 PM
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The Forum - Los Angeles
Inglewood, CA
Friday
10/16/xxxx
8:00 PM
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Viejas Arena At Aztec Bowl
San Diego, CA
Saturday
10/17/xxxx
7:30 PM
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Comerica Theatre
Phoenix, AZ
Monday
10/19/xxxx
7:00 PM
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Santa Barbara Bowl
Santa Barbara, CA
Wednesday
10/21/xxxx
7:00 PM
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Santa Barbara Bowl
Santa Barbara, CA
Thursday
10/22/xxxx
7:00 PM
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EnergySolutions Arena
Salt Lake City, UT
Saturday
10/24/xxxx
7:00 PM
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Pepsi Center - Denver
Denver, CO
Sunday
10/25/xxxx
8:00 PM
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Sprint Center
Kansas City, MO
Tuesday
10/27/xxxx
7:30 PM
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Chaifetz Arena
Saint Louis, MO
Thursday
10/29/xxxx
8:00 PM
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Target Center
Minneapolis, MN
Sunday
11/1/xxxx
8:00 PM
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The Chicago Theatre
Chicago, IL
Tuesday
11/3/xxxx
8:00 PM
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The Chicago Theatre
Chicago, IL
Wednesday
11/4/xxxx
8:00 PM
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The Chicago Theatre
Chicago, IL
Friday
11/6/xxxx
8:00 PM
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Neal S. Blaisdell Center - Arena
Honolulu, HI
Thursday
11/12/xxxx
8:00 PM
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Neal S. Blaisdell Center - Arena
Honolulu, HI
Friday
11/13/xxxx
8:00 PM
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Neal S. Blaisdell Center - Arena
Honolulu, HI
Sunday
11/15/xxxx
8:00 PM
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Moda Center at the Rose Quarter
Portland, OR
Tuesday
1/12/xxxx
8:00 PM
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Honda Center
Seattle, WA
Saturday
1/16/xxxx
8:00 PM
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Tucson Arena
Tucson, AZ
Tuesday
1/19/xxxx
8:00 PM
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AT&T Center
San Antonio, TX
Thursday
1/21/xxxx
8:00 PM
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Toyota Center - TX
San Antonio, TX
Saturday
1/23/xxxx
8:00 PM
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American Airlines Center
Dallas, TX
Sunday
1/24/xxxx
8:00 PM
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Quicken Loans Arena
Cleveland, OH
Tuesday
2/2/xxxx
7:30 PM
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Palace Of Auburn Hills
Auburn Hills, MI
Friday
2/5/xxxx
8:00 PM
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Consol Energy Center
Pittsburgh, PA
Saturday
2/6/xxxx
8:00 PM
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Prudential Center
Newark, NJ
Wednesday
2/17/xxxx
8:00 PM
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Sands Bethlehem Event Center
Bethlehem, PA
Friday
2/19/xxxx
8:00 PM
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Barclays Center
Brooklyn, NY
Monday
2/22/xxxx
8:00 PM
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Wells Fargo Center - PA
Philadelphia, PA
Wednesday
2/24/xxxx
8:00 PM
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TD Garden
Boston, MA
Friday
2/26/xxxx
8:00 PM
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Royal Farms Arena
Baltimore, MD
Monday
2/29/xxxx
8:00 PM
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Verizon Center - DC
Washington, DC
Tuesday
3/1/xxxx
8:00 PM
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Philips Arena
Atlanta, GA
Thursday
3/3/xxxx
8:00 PM
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Lawrence Joel Veterans Memorial Coliseum
Winston Salem, NC
Friday
3/4/xxxx
8:00 PM
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Colonial Life Arena
Columbia, SC
Sunday
3/6/xxxx
8:00 PM
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Jacksonville Veterans Memorial Arena
Jacksonville, FL
Tuesday
3/8/xxxx
8:00 PM
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BB&T Center
Sunrise, FL
Wednesday
3/9/xxxx
8:00 PM
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and trust to his own sails and the wind of nature to propel him--to his own wits and soul to guide. Even Fielding's next venture--the wonderful and almost unique venture of Jonathan Wild--leaves some objection of this sort possible, though, for myself, I should never dream of admitting it. Jonathan was (so much the worse for human nature) a real person: and the outlines of his story--if not the actual details--are given partly by his actual life, partly by Gay's Beggar's Opera and its sequel. Moreover, the whole marvellous little book has a purpose--the purpose of satire on false ideas of greatness, historical and political. The invention and the art of the writer are not even yet allowed frank and free course. But though criticism will allow this, it will, if it be competent and courageous, allow no deduction to be made from the other greatness of this little masterpiece. It has never been popular; it is never likely to be popular; and one may almost say that it is sincerely to be hoped that it never will be popular. For if it were, either all the world would be scoundrels, which would be a pity:
or all the world would be philosophers and persons of taste, in which case it would be impossible, as the famous story has it, to "look down on one's fellow?creatures from a proper elevation." It really is a novel and a remarkable one--superior even to Vanity Fair, according to Thackeray's own definition, as a delineation of "a set of people living without God in the world." But it is even more (and here its only parallel is A Tale of a Tub, which is more desultory and much more of a fatrasie or salmagundy of odds and ends) a masterpiece and quintessential example of irony. Irony had come in with the plain prose style, without which it is almost impossible: and not merely Swift but others had done great things with it. It is, however, only here that it reaches the quintessence just spoken of with a coherent and substantive purpose to serve as vehicle for it. It is possibly too strong for most people's taste: and one may admit that, for anything like frequent enjoyment, it wants a certain admixture of the fantastic in its various senses--after the method of Voltaire in one way, of Beckford in another,
of Peacock in a third, of Disraeli in a fourth--to make it acceptable to more than a very few. But it shows, even from our present limited point of view, of what immense and exalted application the novel?method was capable: and it shows also the astonishing powers of its author. "Genial," in the usual sense, it certainly cannot be called; in the proper sense as equalling "what is the production of genius" there are few books which deserve the term better. But it is an exercise in a by?way of the novel road?system, though an early proof of the fact that such by?ways are endlessly open. But the time was coming, though it did not (and could hardly) come very quickly, when Fielding was to discard all kinds of adventitious aids and suggestions--all crutches, spring?boards, go?carts, tugs, patterns, tracings--and go his own way--and the Way of the Novel--with no guidance but something of the example of Cervantes directly and Shakespeare indirectly among the moderns, and of the poetic fiction?writers of old. It is perfectly clear that he had thought widely (and perhaps had read not a little) on the subject
of literary criticism, in a sense not common in his day, and that the thinking had led him to a conception of the "prose epic" which, though it might have been partly (not wholly by any means) pieced out of the Italian and Spanish The English Novel 40 critics of the late sixteenth and early seventeenth centuries, had never been worked out as a complete theory, much less applied in practice and to prose. The Prose Epic aims at--and in Fielding's case has been generally admitted to have hit--something like the classical unity of main action. But it borrows from the romance?idea the liberty of a large accretion and divagation of minor and accessory plot:--not the mere "episode" of the ancients, but the true minor plot of Shakespeare. It assumes, necessarily and once for all, the licence of tragi?comedy, in that sense of the term in which Much Ado About Nothing and A Winter's Tale are tragi?comedies, and in which Othello itself might have been made one. And it follows further in the wake of the Shakespearean drama by insisting far more largely than ancient literature of any kind, and far more than any
modern up to its date except drama had done, on the importance of Character. Description and dialogue are rather subordinate to these things than on a level with them--but they are still further worked out than before. And there is a new element--perhaps suggested by the parabasis of ancient comedy, but, it may be, more directly by the peculiar method of Swift in A Tale of a Tub. At various places in his narrative, but especially at the beginnings of books and chapters, Fielding as it were "calls a halt" and addresses his readers on matters more or less relevant to the story, but rather in the manner of a commentator and scholiast upon it than as actual parts of it. Of this more later: for the immediate purpose is to survey and not to criticise. The result of all this was Tom Jones--by practically universal consent one of the capital books of English literature. It is unnecessary to recapitulate the famous praises of Gibbon, of Coleridge, of Byron, and of others: and it is only necessary to deal briefly with the complaints which, if they have never found such monumental expression as the praises,