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Wicked tickets New York City DEALS

Long before Dorothy drops in, two other girls meet in the Land of Oz. One, born with emerald green skin, is smart, fiery and misunderstood. The other is beautiful, ambitious and very popular. Wicked follows these two unlikely friends and college roommates grow into very different women: The Wicked Witch of the West and Glinda the Good Witch.

Based on the Novel by Gregory Maguire, the music and lyrics are by Stephen Schwartz (Godspell) with a Book by Winnie Holzman.

to get tickets for Wicked go to http://www.wwwtixx.com
PERFORMANCE TIMES:
Evenings - Tuesday at 7pm | Wednesday - Saturday at 8pm
Matinees - Wednesday & Saturday at 2pm | Sunday at 3pm

RUNNING TIME:
2 hours & 30 minutes with one intermission of 15 minutes

REVIEWS:

 "WICKED tickets new york  works because it has something Broadway musicals, so addicted to facetiousness and camp, have largely given up on: a story that adults can take seriously. Adapted by Winnie Holzman from the 1995 novel by Gregory Maguire, the musical reimagines a children's tale in grown-up psychopolitical terms a lot more successfully than, say Stephen Sondheim and James Lapine did for 'Into The Woods'. As the Wizard (Joel Grey) puts it, "The best way to bring folks together is to give them a really good enemy." Imagine: a family musical that might make the Bush Administration squirm. Which isn't to say WICKED, under Joe Mantello's assured direction, lacks funs. The show gets laughs by playing off famous bits from the movie. It also provides a showcase for two fabulous Broadway stars. Kristin Chenoweth, the Kewpie doll who won a Tony for 'You're a Good Man, Charlie Brown,' is a perfect delight as Glinda. In the tougher role of Elphaba, Idina Menzel is possibly even better, a mix of vulnerability and feminist passion, with a rock voice to raise the roof. With an awful lot of plot to establish, the show drags in spots. But IF EVERY MUSICAL HAD A BRAIN, A HEART AND THE COURAGE OF WICKED, BROADWAY REALLY WOULD BE A MAGICAL PLACE."

"HOORAY! BROADWAY'S GOT A BIG NEW MUSICAL THAT'S GOOD ENOUGH TO RUN FOR A DECADE OR TWO! If it doesn't please you, you're too tough to please. It's funny and touching and full of beans (not to mention child-friendly). Kristin Chenoweth finally has a full-fledged star part that's worthy of her. Broadway buffs have been waiting for her to land a bona fide star part in a successful show. Well, this is it. She sings like a cherub and acts like a damned good actress, and Stephen Schwartz has written her a show-stopping comic turn. I can't imagine anyone in the world have done a better job as Glinda. It's going to make her a star right this minute. Idina Menzel nails her co-starring part with equal aplomb. Not only does she look great in green, but she blends pathos and warmth in just the right proportions. Joel Grey, bless him, is back on stage. Stephen Schwartz has given us the most poignant new Broadway ballad to come along in ages. Wayne Cilento has choreographed with dapper precision -- this show moves. You'll be enchanted by director Joe Mantello and set designer Eugene Lee's miraculously elaborate-looking Kingdom of Oz. GO!"

     - Terry Teachout, The Wall Street Journal

  Buy or Browse Wicked Tickets



"WICKED IS STEEPED IN TALENT!

As Glinda the Good Witch, Kristin Chenoweth is giving jaw-dropping demonstrations of the science of show-biz aeronautics. She proves that nothing can top undiluted star power. It's amazing how she keeps metamorphosing before your eyes and ears. Her voice shifting between operetta-ish trills and Broadway brass, her posture melting between prom-queen vampiness and martial arts moves, she evokes everyone from Jeanette MacDonald to Cameron Diaz, from Mary Martin to Madonna. She turns one-liners into something so startling that you have to laugh. Chenoweth is the real thing, melding decades of performing traditions into something shiny and new. Be very grateful that she has returned to the stage.

As the Wicked Witch of the West, the talented Idina Menzel is a vocal powerhouse and a commanding presence. She will no doubt dazzle audiences.

Directed by the understandably in-demand Joe Mantello, WICKED'S cast features gold-standard veterans, Joel Grey and Carole Shelley, and bright rising talents, Norbert Leo Butz and Christopher Fitzgerald. The top-flight designers include Susan Hilferty (costumes), Kenneth Posner (lighting) and Eugene Lee, whose sets are an ingeniously arranged technoscape of wheels and cogs overseen by the wondrous metal dragon that rests atop the proscenium.

There are visual and verbal jokes aplenty in this recreation of Baum's enchanted land where Glinda and Elphaba get to know each other long before a little brat named Dorothy shows up. The contrast between the young women, who wind up as reluctant roommates at sorcery school, is used to examine a society that values surface over substance, the illusion of doing good over the genuinely noble act. It goes without saying that you don't have to squint to fine parallels with a certain contemporary Western nation in which artful presidential photo ops win more votes than legislative change."

     - Ben Brantley, The New York Times

While the media worries about ticket brokers the sports agents are all stickup men

How the hell can the average Yankees fan see a gane in the Bronx if players like Johhny D. think they are worth 13 million a season ...where does this end ?

Divorce leaves Damon, Yankees hurting

By JOEL SHERMAN

Last Updated: 1:31 PM, January 28, 2010

Posted: 4:19 AM, January 28, 2010

Johnny Damon wanted the Yankees and the Yankees wanted Johnny Damon. But in the end, pride and inflexibility on both sides scuttled a covert, last-second attempt to stay together.

So one of the intriguing questions of 2010 now becomes if the Yankees, Damon or both ultimately regret how that pride and inflexibility assured a divorce.

If, for example, July rolls around and the Yankees are dissatisfied with their outfield/DH production and are looking for a Damon-esque player, they probably will rue not behaving like their behemoth-market self to keep Damon. If Damon is unable to find significant dollars and/or ends up slumming in, say, Cincinnati or Oakland, he may wonder how he let the Yankees get away.

What is known for sure now is Damon will not be back. The Yankees were unhurried in negotiations with other outfielders, hoping a door to Damon would re-open. However, when their preferred $2 million option, Randy Winn, said he was ready to sign elsewhere (likely the Nationals) unless a deal was finalized immediately, the Yankees blinked and agreed to a deal with Winn yesterday. That agreement extinguished the flickering possibility of retaining Damon.

It also reignited recriminations from both sides claiming lack of good faith and communication. Both camps played the semantic game. Scott Boras, Damon’s agent, said yesterday the Yankees “have not made an offer to date.” Yankees GM Brian Cashman countered by saying that on Dec. 17 Boras told him Damon would “not take a penny less than $13 million [a year].”

YANKEES SIGN WINN

The Yankees responded by signing Nick Johnson and a subsequent trade for Javier Vazquez left $2 million in Hal Steinbrenner’s budget for another outfielder, too little for Damon’s liking.

“We wanted Johnny back and we are sorry he is not back,” Cashman said. “But you can’t say publicly with a straight face that we didn’t make an offer because we were told not to make an offer because we were not in the same ballpark.”

Before this round of bad feelings teemed, however, there had been recent attempts to rekindle negotiations.

In the middle of last week, Damon called Yankees officials in New York, The Post has learned. Steinbrenner was on his honeymoon. However, a top Yankees executive told Damon that if he accepted a $6 million deal with $3 million deferred that Steinbrenner could, perhaps, be convinced to approve that; though many Yankees officials remain sure the young Boss would never budge off $2 million.

But like all previous concepts, Damon considered this latest idea unacceptable after he had a strong 2009 in which he made $13 million. The Damon camp, according to sources, continued to float that they had offers in the two-year, $19 million range that Bobby Abreu received from the Angels. Boras yesterday called Damon “a great player” who has a market.

Boras did talk to Yankees officials over the weekend and Damon spoke with Steinbrenner on Monday. However, both sides sensed entrenchment, no proposals were extended, and it became obvious that unless one camp was bluffing Damon’s Yankees days were definitely over. Neither camp moved. So yesterday the Yankees had a Winn and a loss (Damon).

But really it is a loss all around. Like his departure from Boston to New York as a free agent, Damon leaves a championship in the background, leaves angry and in a financial dispute. He landed well with the Yankees (four years, $52 million). But there will be no repeat this time, and he may not exceed $7 million plus deferrals.

He might have chased a few extra bucks and left behind a Stadium that ideally fit his swing, and a winning, big-market club that fit his outsized personality. The Yankees, too, are losing that Stadium swing and imperturbable personality, and are replacing Damon with a human first-aid station (Johnson) and role players (Winn and Brett Gardner).

From the outside, it seems like both sides needed to relent. But pride and inflexibility reigned, and now you wonder if regret is coming next.

Apple Tablet

What good is this tablet thing?
I have been trying to work out what the justification of an iSlate is. Where is the market? After all, all previous tablet computers have been dismal failures.

Computers, desktops and laptops are not really consumer products and never have been. Their origins date back to professional computer uses like Word Processing and Spreadsheets.

Despite attempts to make them easier to use. Personal Computers remain tools for professionals, which have only made a handful of concessions for non-professional usage.

The "professional tool" PC is not bad thing. We professionals like to create content. We want keyboards, and we want an exposed file system, and we want to plug stuff in. These are essential aspects to the personal computer and can never be dropped.

But these requirements come with three unavoidable problems.

1) The form factor. Physical bulk. Professional computers simply must have keyboards. They are useless without them. And even the slimmest computers are bulky when opened.

2) Power. You need a desktop-like CPU to run desktop apps. This means a low batter life.

3) Complexity. The desktop experience demands a windowing WIMP interface. With file systems, and settings and all.

For us technophiles, a full OS and GUI is something we hardly think of. It is a given. But such systems requires a lengthy boot process, and a level of technical expertise which is not universal. Some basic tasks are ridiculously difficult.

The flexible nature of software also brings with it the risk of viruses or configuration nightmares, which non-technical people just cannot solve. Your Granny can still not use your Mac. Your uncle can use a PC, but he has to trade it in every 18 months because it is "broken".

So can the computer be "re-thunk" for a non-professional market? Can you design a device for a market that cares more about consuming media than creating media? If you see kids with laptops, they watch movies, send text-like messages on facebook - they never open a file-system. They don't want to.

Perhaps there is a demand for a consumer-oriented computer appliance? It would offer all those computer benefits we get on the notebook, but without these problems.

So the a CE computer would
1) Have a form factor which lends itself to media-consumption, reading, portability, bagability. A robust, slim, screen format which would take-up less space than a magazine. This means dumping the rarely needed keyboard. This means a chamfered edge. This means a scratch-proof screen. A round-edged slab that can take abuse.

2) Switch to a processor and GPU designed for portable hardware. Offering long battery life. Good performance, and offload heavy lifting to the GPU where possible. 8 hours use would be good. A couple of days stand-by would be handy too.

3) Create a user experience around media consumption and not media creation. This means a brain-dead easy UI. We are talking chimpanzee-level intelligence to operate. Want to Facebook. Poke Facebook. Want to watch a movie. Poke the movie. Want to videochat with the grandkids. Poke the grandkids pic, or the camera pic. Either will get you there. And it should not only be simple, it should be fun. Every action would be rewarded with clear visual feedback.

The market is full of people who already want to do this stuff, but currently are compelled to buy a pro device that offers too much. Too much complexity. Too much bulk. They buy notebooks but secretly they are confused why the screens are blank, and the useful stuff is hidden in a menu. They don't know why sometimes it does not work. Or what some of those settings do.

A consumer-targetted device has the potential to split the computer market in two. With professional media-creation computers on one side, and consumer media consumption computers on the other.

Done well, and priced like a netbook, such a device could get to consumers who previously would never consider buying a computer. It could sell into schools to replace textbooks. It would make the Kindle look dull. It would make netbooks look like something from a previous century. Granny would have one as a photoframe that lets her Skype the grandkids.

And for us professionals who love our notebooks. We will keep on buying them. We demand the flexibility. But when we are on the commute, we might look enviously at all those dullards reading the newspaper on their tablets.

Kesha breaks pop song airplay record

Ke$ha breaks pop song airplay record

Tue Jan 26, 2010 1:07pm GMT

 

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By Gary Trust

NEW YORK (Billboard) - A week after Lady Gaga set a milestone on Billboard's Pop Songs radio airplay chart, Ke$ha has rewritten the record.

Last week, Lady Gaga's "Bad Romance" made chart history for logging the most weekly plays in the 17-year archives of the tally, registering 10,859 plays in the tracking week of January 11-17, according to Nielsen BDS.

This week, Ke$ha's debut RCA Music Group hit "TiK ToK" claims both the summit from "Bad Romance" -- the tracks swap places at Nos. 1 and 2 -- and establishes a new weekly play record of 11,224 in the week January 18-24.

"TiK ToK" has spent the past five weeks at No. 1 on the Billboard Hot 100.

Two weeks ago, Ke$ha became just the 12th woman to send her debut single and album to No. 1 on the Hot 100 and Billboard 200 respectively, when her introductory set "Animal" arrived atop the latter list.

Justice Department Requires Ticketmaster Entertainment Inc. to Make Significant Changes to Its Merger with Live Nation Inc

Justice Department Requires Ticketmaster Entertainment Inc. to Make Significant Changes to Its Merger with Live Nation Inc.
Software Licensing Agreement, Divestiture and Anti-Retaliation Provisions Will Preserve Competition in Ticketing in the United States

WASHINGTON – The Department of Justice announced today that it will require Ticketmaster Entertainment Inc. to license its ticketing software, divest ticketing assets and subject itself to anti-retaliation provisions in order to proceed with its proposed merger with Live Nation Inc. The department said that the proposed settlement will protect competition for primary ticketing, which will in turn maintain incentives for innovation and discounting. The department said that the merger, as originally proposed, would have substantially lessened competition for primary ticketing in the United States, resulting in higher prices and less innovation for consumers.

The Department of Justice’s Antitrust Division, along with 17 state attorneys general, filed a civil antitrust lawsuit today in the U.S. District Court in Washington, D.C., to block the proposed transaction. At the same time, the department and the states’ Attorneys General filed a proposed settlement that, if approved by the court, would resolve the competitive concerns in the lawsuit. The state attorneys general offices are: Arizona; Arkansas; California; Florida; Illinois; Iowa; Louisiana; Massachusetts; Nebraska; Nevada; Ohio; Oregon; Pennsylvania; Rhode Island; Tennessee; Texas; and Wisconsin.

The Department of Justice cooperated closely with the Canadian Competition Bureau throughout the course of its investigation, and the two agencies worked together to obtain the same remedy that preserves competition in both the United States and Canada.

Under the proposed settlement, Ticketmaster must license ticket software and divest ticketing assets to two different companies —Anschutz Entertainment Group (AEG) and either Comcast-Spectacor or another buyer suitable to the department, respectively —allowing both companies to compete head-to-head with Ticketmaster. Ticketmaster will also subject itself to court-ordered restrictions on its behavior.

"The Department of Justice’s proposed remedy promotes robust competition for primary ticketing services and preserves incentives for competitors to innovate and discount, which will benefit consumers," said Christine Varney, Assistant Attorney General in charge of the Department of Justice’s Antitrust Division. "The proposed settlement allows for strong competitors to Ticketmaster, allowing concert venues to have more and better choices for their ticketing needs, and provides for anti-retaliation provisions, which will keep the merged company in check."

As part of the proposed settlement, Ticketmaster must license a copy of its primary ticketing software to AEG, the nation’s second-largest concert promoter and operator of some of the most important concert venues in the country. With a copy of the Ticketmaster software, AEG will be able to market a ticketing system that is an attractive choice to venues. AEG will have incentives similar to Live Nation to provide better services at lower prices. Within five years, AEG can purchase the Ticketmaster ticketing software, decide to create its own software, or partner with a ticketing company other than Ticketmaster. The department said that this remedy enhances short and long term competition in the primary ticketing market.

Ticketmaster must divest Paciolan Inc., a ticketing company that it currently owns, within 60 days to either Comcast-Spectacor, which has already signed a letter of intent to purchase the assets, or some other buyer suitable to the department. Comcast-Spectacor is a sports and entertainment company with management relationships with a number of concert venues and ticketing experience with its New Era Tickets company. Paciolan is used by hundreds of venues to sell tickets including major concert venues around the country. Venues that contract with Paciolan have greater flexibility to lower the ticket service fees that are charged to consumers who buy tickets. The department said that divesting Paciolan to Comcast-Spectacor, or another suitable buyer, in conjunction with the AEG license, will replace the competitive pressure on Ticketmaster lost as a result of the merger.

Under the settlement, the merged firm will be forbidden from retaliating against any venue owner that chooses to use another company’s ticketing services or another company’s promotional services, including restrictions on anticompetitive bundling. The merged firm must also allow any client that leaves and chooses to use another primary ticketing service to take a copy of the ticketing data related to that client’s sales. The settlement also sets up firewalls that protect confidential and valuable competitor data by preventing the merged firm from using information gleaned from its ticketing business in its day-to-day operations of its promotions or artist management business. Additionally, the merged firm must provide notice of any other acquisitions of a ticketing company so that the department may investigate the competitive effect of such an acquisition.

Together, these remedies will preserve the competition that Ticketmaster faced from Live Nation, a new ticketing entrant, the department said. Prior to its proposed merger with Ticketmaster, Live Nation had established incentives to reduce service fees to sell more tickets. Today’s settlement offers a new competitor comparable incentives to ensure ticket sales are maximized for the benefit of consumers, the department said.

Ticketmaster is a Delaware corporation headquartered in West Hollywood, Calif. Ticketmaster is the world’s largest ticketing company. In 2008, Ticketmaster sold more than 141 million tickets valued at more than $8.9 billion on behalf of more than 10,000 clients worldwide and earned approximately $1.4 billion in gross revenues.

Live Nation is a Delaware corporation headquartered in Beverly Hills, Calif. It is the world’s largest promoter of live concerts, with 2008 worldwide gross revenues of $4 billion. Live Nation also owns or operates more than 75 concert venues of various sizes in the United States.

AEG, headquartered in Los Angeles, is one of the leading sports and entertainment presenters in the world. AEG, a wholly owned subsidiary of the Anschutz Company, owns or controls a collection of venues, such as the Staples Center (Los Angeles), Prudential Center (Newark, N.J.), Sprint Center (Kansas City, Mo.) and Citizen’s Business Bank Arena (Ontario, Canada). The company’s live entertainment division, AEG Live, is one of the world’s leading concert promotion and touring companies with 15 regional offices that has recently promoted national tours on behalf of artists such as Prince, Usher, Kenny Chesney, Rod Stewart, Paul McCartney, Yanni, The Eagles, George Strait, Justin Timberlake, Christina Aguilera, Dixie Chicks, Hannah Montana and American Idol. AEG is also a 50 percent owner of Wright Entertainment Group, which manages major artists such as the Jonas Brothers, Justin Timberlake, Janet Jackson and ‘N Sync.

Comcast-Spectacor, headquartered in Philadelphia, has more than $1 billion in annual sales. It is a joint venture between a private investor and Comcast Corp., a leading provider of cable, Internet and phone services in the United States. Comcast-Spectacor owns a national ticketing services company, owns and operates major venues and sport franchises, manages approximately 90 public assembly facilities, and runs a major North American food and beverage concessions company.

As required by the Tunney Act, the proposed 10-year settlement, along with the department’s competitive impact statement, will be published in the Federal Register. Any person may submit written comments concerning the proposed settlement during a 60-day comment period to John R. Read, Chief, Litigation III Section, 450 Fifth Street, N.W., Suite 4000, Washington, D.C. 20530. At the conclusion of the 60-day comment period, the U.S. District Court for the District of Columbia may enter the proposed settlement upon finding that it is in the public interest.

CNBC reports DOJ approves Livenation Ticketmaster merger

CNBC David Faber reports DOJ approves Livenation Ticketmaster merger

Good news for Livenation and Ticketmaster and bad new for record labels and bands who will no longer be able to get them to bid against each other. I am not really sure where the consumer comes out in all of this but if Ticketmaster is allowed to continue to have a closed loop system in paperless ticketing monopoly the fan will be the loser that much I do know.

Is there any other business where restriction of trade is allowed and the primary market ask the Govt to give them price protections and the consumer is not allowed to return the product in this a case a ticket for a refund and they are also not allowed to resell it to recoup their money. As Don King says only in America.

Jets SuperBowl tickets 1.800.688.4000

Jets Super Bowl tickets Miami are on sale at http://jetssuperbowltickets.com/

Conan Fox Network ?

Over the last week the talk show circuit has exploded as NBC has announced plans to place Jay Leno back in his 10:35 Central time slot, while pushing Conan O’Brien back to 12:05am and Jimmy Fallon somehwere into the year 2072. While the treatment of O’Brien has been seen as largely unfair, I actually feel that the floppy haired funnyman would benefit from an NBC to FOX move, if such a deal really does exist somewhere in the backrooms of Fox Studios.

Less we forget, Conan O’Brien was a shining star for Fox, writing some of the most memorable episodes of the Simpsons (can everyone say “Monorail”). By entering into an agreement with a network that actually appreciates his talents, Conan may be able to poach some of the networks best comedic writing talents, a move that could help keep his shows stay fresh with new raw material.

Furthermore, O’Brien would more than likely have extra leeway with how he presents his material. NBC officials have admitted that they wanted Conan to “broaden his appeal” however Conan isn’t your grandma and grandpas version of the Tonight Show, instead he targets younger crowds and during his old timeslot he did that better than any other talk show host. If Fox can get Family Guy and Simpsons viewers to tune into the funnyman’s new show, the show could reap advertiser gold by targeting the coveted 18-45 year old male demographic. If you want to know how profitable that demographic is, just look at the huge profits being reaped by ESPN.

Carol King James taylor concert tickets on sale

Live Nation raises service fees House of Blues concerts

Yeah, This Will Help Show Attendance
POSTED BY MICHAEL GALLUCCI ON FRI, JAN 8, 2010 AT 11:16 AM

Live Nation purchased the House of Blues chain/promotions company in 2006. On Wednesday, House of Blues stopped selling tickets via Ticketmaster and now sells online exclusively via LiveNation.com. Moving ticket sales in-house probably seemed like a good way to centralize operations and reign in costs. And it might be — but not for you.

Purchased online via Ticketmaster, a $20 Anvil ticket incurred a $7.30 “convenience charge.” A day later, purchased though Live Nation, the same ticket incurred a $9 “ticket fee,” raising the markup from an already high 36.5 percent to a seemingly punitive 45 percent. For the upcoming High School Rock Off, $8 online tickets incurred a $6.10 fee — 76 percent markup.

If you order via the House of Blues box office (216-523-2583), fees are slightly lower, and there's still an additional average fee of $3-5 if you pick them up in person.

We know handling charges are nothing new, but we thought the “ticket fee” was the “price of admission.” But at least they’re not calling it a “convenience fee” any more, which, we suppose, is worth something. —D.X. Ferris

Viking Saints ticket deals game January 24th 2010

Viking Saints ticket deals game January 24th 2010 for tickets go to http://www.wwwtixx.com/tickets

Who Dat tickets Saints tickets Viking tickets New Orleans NFC Championship

The 2009 Minnesota Vikings look to win big this season in the NFL Playoffs with Brett Favre and star running back Adrian Peterson leading the way! Don't miss your chance to see your Minnesota Vikings LIVE from the best seats in the house at Mall of America Field at the Metrodome! Buy your Minnesota Vikings tickets and Minnesota Vikings Playoff tickets now!

Minnesota Vikings at New Orleans Saints Tickets Sun, Jan. 24th, 2010 05:40 PM Louisiana Superdome (New Orleans, LA) View Tickets Sell Tickets **Conference Championship**

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Conan letter to NBC

People of Earth:

In the last few days, I've been getting a lot of sympathy calls, and I want to start by making it clear that no one should waste a second feeling sorry for me. For 17 years, I've been getting paid to do what I love most and, in a world with real problems, I've been absurdly lucky. That said, I've been suddenly put in a very public predicament and my bosses are demanding an immediate decision.

Six years ago, I signed a contract with NBC to take over The Tonight Show in June of 2009. Like a lot of us, I grew up watching Johnny Carson every night and the chance to one day sit in that chair has meant everything to me. I worked long and hard to get that opportunity, passed up far more lucrative offers, and since 2004 I have spent literally hundreds of hours thinking of ways to extend the franchise long into the future. It was my mistaken belief that, like my predecessor, I would have the benefit of some time and, just as important, some degree of ratings support from the prime-time schedule. Building a lasting audience at 11:30 is impossible without both.

But sadly, we were never given that chance. After only seven months, with my Tonight Show in its infancy, NBC has decided to react to their terrible difficulties in prime-time by making a change in their long-established late night schedule.

Last Thursday, NBC executives told me they intended to move the Tonight Show to 12:05 to accommodate the Jay Leno Show at 11:35. For 60 years the Tonight Show has aired immediately following the late local news. I sincerely believe that delaying the Tonight Show into the next day to accommodate another comedy program will seriously damage what I consider to be the greatest franchise in the history of broadcasting. The Tonight Show at 12:05 simply isn't the Tonight Show. Also, if I accept this move I will be knocking the Late Night show, which I inherited from David Letterman and passed on to Jimmy Fallon, out of its long-held time slot. That would hurt the other NBC franchise that I love, and it would be unfair to Jimmy.

So it has come to this: I cannot express in words how much I enjoy hosting this program and what an enormous personal disappointment it is for me to consider losing it. My staff and I have worked unbelievably hard and we are very proud of our contribution to the legacy of The Tonight Show. But I cannot participate in what I honestly believe is its destruction. Some people will make the argument that with DVRs and the Internet a time slot doesn't matter. But with the Tonight Show, I believe nothing could matter more.

There has been speculation about my going to another network but, to set the record straight, I currently have no other offer and honestly have no idea what happens next. My hope is that NBC and I can resolve this quickly so that my staff, crew, and I can do a show we can be proud of, for a company that values our work.

Have a great day and, for the record, I am truly sorry about my hair; it's always been that way.

Yours,

Conan

Conan O'Brien wants nothing to do with the "destruction" of "The Tonight Show

Tickets Brodway Shows tickets phone 1.800.688.4000 Tixx.com

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Tixx Times Square Broadway Tickets Phone 1-800-800-8499

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Tixx Times Square Broadway hotline, Tixx.com can get you great deals the week of the show.

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Viking ticket deals Playoffs for tickets go to http://www.tixx.com

Winter Games tickets group deals for Vancover

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Deals on Black Eyed Peas tickets and concert information

Get ready for Black Eyed Peas, all the way live. Still one of the hottest NYC tickets in music today, Black Eyed Peas band will funk you with all the hits from their collection mega-platinum albumsm the hottest tout this winter.

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Eric Clapton and Jeff Beck ticket deals 2010 concert tour dates MSG

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We have great deals on tickets for Clapton at Madison Sqaure Garden
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Nfl Wild Car game tickets Playoffs Tickets for next week's games in New England, Dallas, Cincinnati and Arizona.

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to buy tickets by phone call 1.800.666.BOWL

Twelve NFL teams have earned the right to battle for a ticket to Miami to play in Super Bowl XLIV. Next weekend is all about the Wild Card teams. The Bengals, Jets, Eagles, Cowboys, Ravens, Patriots, Packers and Cardinals are playing. The Saints, Vikings, Colts and Chargers have byes and will rest up for the Divisional Playoffs. The Ravens at the Patriots is currently the hottest NFL Wild Card ticket. Fans in Massachusetts are outsearching anywhere else by more than 3 to 1. Here are the hottest NFC and AFC Wild Card tixx.combased on fan searches.


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Both the Eagles - Cowboys and Packers - Cardinals games are rematches of their final regular season games. Cowboys tixx.comhave been the most searched by fans for the last several weeks of the regular season. The Eagles - Cowboys week 17 matchup was the most searched NFL ticket of the week.

Super Bowl XLIV tixx.comare currently averaging $3,000. The Get-in price is $1,100.

The tixx.com ticket search engine includes several industry-first features, the most prominent being its patent-pending dynamic tixx.com Maps(SM), which help fans to:

-- Determine at-a-glance the ticket price range by section; using colored "heat map" markers

-- Zoom into the interactive venue maps, and see the ticket listings from dozens providers placed in clearly labeled rows

-- View at-a-glance the "Best Value Tickets" -- the lowest price tixx.comavailable in key areas of the venue, easily identified as blue stars on the tixx.com Maps

-- Share events and even actual ticket listings via Facebook, Twitter, or email

Soundgarden Reunion

Singer Chris Cornell, former frontman of the ’90s Seattle grunge band Soundgarden, confirmed via Twitter that the band is getting back together. “The 12 year break is over & school is back in session,” Cornell tweeted. “Sign up now. Knights of the Soundtable ride again!” Cornell provided a link to a new web site, Soundgarden World, which enables fans to sign up for further updates on the band’s reunion. Soundgarden split up in 1997 and Cornell went on to release three solo albums, but in recent years he and other former band mates had hinted at the possibility of an eventual reunion.