VINTAGE 1981 ROLLING STONES TICKET ZZ TOP FABULOUS T-BIRDS DALLAS COTTON BOWL

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VINTAGE 1981 ROLLING STONES TICKET ZZ TOP FABULOUS T-BIRDS DALLAS COTTON BOWL :
$17.99

HERE IN THIS LISTING WE HAVE A USEDVINTAGE NO. 830 OF 100,000 ON NOV. 1, 1981 ROLLING STONES TICKET STUB PLAYING WITH FABULOUS THUNDERBIRDS& ZZ TOP IN DALLAS TX AT THE COTTON BOWL.. DONT MISS THIS RARE & AWESOME PIECE OF ROCK AND ROLL HISTORY. . GOOD VINTAGE CONDITION. SEE PICS FOR BEST DESCRIPTION. FROM THE MARGARET MOSER MUSIC MEMORABELIA ESTATE. MARGARET MOSER WORKED FOR THE AUSTIN CHRONICLE, SXSW, WAS THE DIRECTOR OF THE AUSTIN MUSIC AWARDS FOR OVER 30 YEARS AND WAS AN AUTHOR AND AN AVID MUSIC FAN & MEMORABELIA COLLECTOR. SEE ALL MY LISTINGS FOR GREAT TICKET STUBS, PRESS BADGES & PINS. MORE TO COME. To this day, I regret skipping over The Rolling Stones’ U.S. tours that took place every three years from 1969 through 1978. Even if I tried, tickets for their New York area shows back them were tough to get. Living in Texas in 1981, it was easy though for me to be among the 100,000 at one of their two shows at the Cotton Bowl in Dallas.

Following two successful and critically-acclaimed LPs, Some Girls and Tattoo You, the latter boosted through MTV, 1981 was a peak time for the Stones. The Stones enterprise put a lot of effort into this tour which proved to be landmark in setting the mold for future big stadium shows. It was also the first to attract a major corporate sponsor (fragrance-maker Jovan for a cool million) and went on to become the highest-grossing concert tour to date.

Like most stops on the tour, the Dallas shows were on the weekend during the day. Mine was the second of the two and was held on a football Sunday. (The hometown Cowboys were playing away in Philadelphia and over the weekend Mick sported both teams’ jerseys.) The Stones’ practice was to employ prominent local acts as openers, and Dallas featured great sunny afternoon sets from The Fabulous Thunderbirds and ZZ Top.

By the time the Stones took the stage late afternoon, the sun started to set and the weather got chilly. Our seats in the upper deck near the front were in the shade. This meant we froze while those on the other side in the sun fared much better. It got so cold that one of my friends retreated back to the car to watch the Cowboy game on a portable television.

To date, this is by far the largest crowd I have ever been a part of, and I can’t say that I really enjoyed watching a band through binoculars from such a distance. Despite the elaborate stage backdrop and powerful sound system, there were no big screens at shows yet. It took theatrics such as releasing balloons and having Mick ride atop a cherry-picker to liven things up for those of us so far away.

While I was excited to finally see the Stones live (I saw them again twice before their high ticket prices became offensive.), I recalled little about the music. Since the Stones recorded every show for their customary live tour record and film, it was fairly easy to find a bootleg soundboard recording of this show. Listening again some 30 year later, I was surprised at how dull and uninspiring they sounded.

For starters, the Stones pretty much played the same set list every night of the tour—how sad and boring for a band with such a vast catalog. But more so, Jagger’s singing was just downright flat. It sounded forced and hurried over a band that at times were sloppy. The only bright spots to my ear were some occasional hot guitar bursts from Keith and Woody.

Behind the enormous crowd and the giant spectacle of it all, that soundboard recording revealed that there just wasn’t much life to this show. Maybe that’s why the tour document live record is called Still Life? It seems like this may have been a tour more for the family trust funds than the music.

Margaret Moser is a pioneer in Texas journalism and a matriarch of the Austin music scene. Since arriving in Austin in 1973, her body of work as a rock, blues, country and folk scribe, most notably for the Austin Chronicle, has left an unparalleled literary legacy. Author, performer, producer and \"Grande Dame\" of the Austin music scene, Moser\'s grandest achievement was to provoke a response from a music industry that was at one time too occupied with its own survival. Her work both encouraged musicians to live a more intense and passionate life and drove city fathers to become more cognizant of their creative capital.

Moser\'s career as a journalist began in May 1976 at the Austin Sun where she \"cleaned the bathroom and answered the telephone\" before making her way into Bill Bentley\'s music gossip column. She soon took over the beat, and as a natural blues aficionado her writing captured the spirit of Antone\'s scene. Aside from her next role as columnist for the newly arrived Austin Chronicle, where she helped spark the rising punk movement centered around Raul\'s nightclub, she found other avenues to champion musicians, her most infamous contribution being ringleader of a troop of groupies known as the \"Texas Blondes.\"

As Moser fought unfair stereotypes of women in music by doing legitimate work in the business, she found liofferinal empowerment in the role of \"Queen\" of Austin groupies. The Texas Blondes showed southern hospitality to a range of artists from U2, the Clash, and the B-52\'s, to the Ramones, the Police, and R.E.M.. During the 1980s, Moser also performed with Dino Lee as a back-up vocalist.

Still, it was Moser\'s penchant for letters which saturated and inspired the burgeoning contemporary Austin music scene. Her lucid observations were full of humor and savage irony, but her work was most significant for its positive effect on musicians. The Austin Music Awards, an outgrowth of the Chronicle music poll, began in March, 1982 and Moser quickly became its central player and hostess. As she continues to be the engine which drives its raw mystique, her book titles, \"Rock Stars Do the Dumbest Things\" and \"Movie Stars Do the Dumbest Things,\" as well as the Austin guidebook for the Edges series, further underscore her knowledge of and affection for the entertainment industry, and the scene she helped construct. Along the way, she has inspired countless novices, made superstars blush, and left a trail in ink that will guide future scholars and music fans alike.