September 13 to 15, 2019, the American Academy of Achievement returned to New York City to celebrate the 53rd annual International Achievement Summit The American Academy of Achievement invited men and women of exceptional accomplishment to share their wisdom and experience with over 80 outstanding young scholars, scientists, artists, entrepreneurs, and public servants in New York City at the 53rd International Achievement Summit, September 13-15, 2019. excerpts: Among the new and returning members of the Academy were ten recipients of the Nobel Prize, nine recipients of the Pulitzer Prize, two Justices of the United States Supreme Court, and seven members of the Rock and Roll Hall of Fame Summit Host Chairman Catherine B. Reynolds, Led Zeppelin founder Jimmy Page, and musical theatre composer and 2019 guest of honor Andrew Lloyd Webber at the introductory dinner of the International Achievement Summit at the Four Seasons Hotel. -- Supreme Court Justice Brett Kavanaugh began his address by joking, “When I was invited, I said I would only come if I could follow Pitbull.” The Justice spoke warmly of teachers and mentors who had the greatest influence on him. As a recent law school graduate, Kavanaugh clerked for Justice Anthony M. Kennedy, and he praised Justice Kennedy’s deep learning as well as his example of unfailing civility on the bench. Jimmy Page, guitarist and founder of Led Zeppelin, Summit Host Chairman Catherine B. Reynolds, and Associate Justice Brett M. Kavanaugh at the Banquet of the Golden Plate gala during the International Achievement Summit. Four legendary singer-songwriters and musicians: Judy Collins, Steven Tyler, Buddy Guy, and Jimmy Page enjoy a rare private tour of Play It Loud: Instruments of Rock & Roll, the first major exhibition in an art museum dedicated in its entirely to the iconic instruments of rock and roll, on view at The Metropolitan Museum of Art in New York City. Jimmy Page addressing American Academy of Achievement members and special guests in front of a display of his 1975 dragon-embroidered costume and 1971 Gibson EDS-1275 Doubleneck. Page donated seven guitars, his stage outfits and equipment to the Play It Loud: Instruments of Rock & Roll exhibition at The Metropolitan Museum of Art. Sunday evening, Academy members gathered at New York’s Metropolitan Museum of Art, where Jimmy Page guided members on a tour of the exhibition Play It Loud: Instruments of Rock & Roll. The exhibition included some of the most iconic instruments of modern music, such as those played by The Beatles, Jimi Hendrix, Keith Richards and Eric Clapton. Academy honoree Buddy Guy enjoyed seeing the vintage Fender Telecaster that was the primary instrument of his old friend and bandmate, the late blues innovator Muddy Waters. Jimmy Page lent several instruments to the exhibition from his own collection, including the two Les Paul guitars he played on his classic Led Zeppelin albums. One guitar, stolen from him in 1970, disappeared for 45 years before it was recovered in 2015. https://www.achievement.org

JIMMY PAGE AND SCARLETT SABET ARE THE MUSIC-POETRY POWER COUPLE THE WORLD DIDN’T KNOW IT NEEDED By Stephanie LaCava | Published October 10, 2019 https://www.interviewmagazine.com/music/jimmy-page-scarlett-sabet-catalyst-led-zeppelin-couple Scarlett Sabet’s poetry is felt three-fold when she performs it. The written words aren’t the same when she says them; they are trance-like, told as if from memory. To call the London-based talent a poet and performer seems inadequate. She’s more so a musician, or, perhaps, a mystic. Her haunting readings have taken place at storied book shops such as San Francisco’s City Lights and Shakespeare & Co. in Paris, and she’s been invited to read at the likes of Wellesley College. She has published four collections of poetry on her own imprint: Rocking Undergound, The Lock and The Key, Zoreh, and Camille earlier this year. Today, she debuts her spoken word album Catalyst, produced by her partner, the legendary musician Jimmy Page. Interview sat down with the couple to talk about coming together for this project, the brilliance of the Velvet Underground, and paying to produce your own work. ——— STEPHANIE LACAVA: You two met in 2012, but it was two years later that your relationship started and you first talked about collaborating together. It would be five more years before today’s release of your project on all streaming platforms. Why this album now? JIMMY PAGE: One project that I knew it shouldn’t be was poetry with music. So with the production of Scarlett’s work, I wanted to create an individual character for each poem, a sonic landscape to compliment it. LACAVA: And with all due respect, that was also a cool move. It would have been kind of eye-rolling to do music accompaniment. SCARLETT SABET: Yes. It feels exciting, but also like a natural progression, I think, because we live and work together every day. Literally every one of these poems, Jimmy was there when I wrote it, and he was the first person that heard it and he’s seen me perform so many times. PAGE: It was six years ago that I first heard Scarlett read. SABET: At World’s End Bookshop on the King’s Road in Chelsea. PAGE: I thought, “This is really interesting. She’s really interesting. She’s definitely got something there.” And the people in attendance soaked up Scarlett’s reading. LACAVA: Surely, you’ve read a lot of crowds. PAGE: That’s a good point. The whole place hushed. Rocking Underground was the first poem I heard of Scarlett’s and when we started production, we began with it. LACAVA: I think people assume the title of the poem is a music reference, but it’s actually quite literal… SABET: I was on a train. My computer had broken. It was just one of those, ugh, kind of despairing Sunday nights. I just remember there was a guy with a backpack in my face, and I got out my notebook, and there was the rhythm of train. LACAVA: Do you usually listen to music while you write? SABET: It’s got to be something that’s trance-like. I can understand why you’d listen to jazz, for example. LACAVA: That’s a place where both of your practices kind of overlap. PAGE: Well, yeah. I did this interview with William Burroughs for Crawdaddy Magazine in 1975. We started to talk about trance music. I thought maybe he’d been to see Led Zeppelin on just one occasion. Actually, it was many times at Madison Square Garden. Anyway, we then started talking about this whole trance ethos, about the Master Musicians of Jajouka, this whole genre of tribal trance music from Morocco. LACAVA: You learned about Jajouka from Brian Jones? PAGE: Yes. To be fair, I know that Brion Gysin had introduced Brian Jones. SABET: He was a painter and musician, Burroughs’s lover, and he came up with the cut-up technique with Burroughs. LACAVA: Ah. What was your connection to Jones? PAGE: I’d heard Elmore James songs (which Jones played a lot,) but I couldn’t quite work out how to play the music. People would say it was literally, from the neck of a bottle. I thought, ‘So, let’s see how this guy Jones does it.’ Sure enough, he gets up on stage and starts doing some Elmore James songs, and he has the equivalent of what everyone would know as a slide on his finger. I started talking to him when he came offstage, and I said, “Well you know, you’ve really got that down. What are you actually using?” You must understand that nobody that I knew played slide guitar at all. This is the first time I’d seen somebody do it—before Jeff [Beck] was doing it, before the Rolling Stones. So, he said, “Oh, have you got a car mechanic near you?” And I said, “I literally do have one not too far away.”‘ He said, “Go there and ask for a bush. It’s called a bush.” A thing used used in car maintenance. And he said, “You’ll find that it’ll just fit on your finger absolutely perfectly, and that’s what I use.” This guy was so generous. LACAVA: Is there any young musician today who has really impressed you? PAGE: Well, I was so impressed with the two guys that I saw with you. LACAVA: Stefan Tcherepnin and Taketo Shimada, the New York-based Afuma. SABET: They were so good. You said that was reminiscent of New York in the ’60s? PAGE: Well, well, yeah. It was. It definitely had that sort of trance vibe. LACAVA: Back to Scarlett’s start. You did your first reading at Shakespeare & Co. in Paris in January of 2015. Jimmy help set it up? PAGE: So, when Sylvia (Whitman, owner and daughter of George Whitman) was giving me a tour after my own book signing, I saw the poetry section there, and I said, “Do you having readings here?” And she said, “Yes.” And I said, “Well, French as well as English?” “Oh, no. Only English.” And I thought, “I know a poet.” LACAVA: It was Sylvia who introduced me to Scarlett years ago. PAGE: After hosting Scarlett, Sylvia said to me, “It’s really powerful in print, but her renditions, they’re in another realm.” LACAVA: So, Sylvia’s now the fourth person in this interview. PAGE: That’s right. And something else funny happened when I was back at Shakespeare and Company. The man in charge of the rare book department said, “Oh, Sir, that Françoise Hardy track that you were on was absolutely amazing. That’s one of my favorite pieces of your guitar work.” I thought, “Well, wait a minute. I’m going to check, I’m going to track this down.” When I heard it, lo and behold, there’s this distortion box. It’s called a fuzz box. And I was the one who helped create this thing, and there it was on Francoise Hardy’s Je n’attends plus personne. I did it when I was a session musician. It was a session in Pye Studios at Marble Arch, downtown where all these Petula Clark hits were done. It wasn’t until you were in the studio that you’d see the artist come in. And you’d go, “Oh, I know who this is.” Or, “I don’t know who this is.” But when Francoise Hardy came in, I knew who she was. She had on one of those turtlenecks and that sort of tweedy skirt. LACAVA: You also did some early sessions with Nico before she was part of the Velvet Underground. PAGE: Nico came to London to record the Gordon Lightfoot song “I’m Not Sayin” with Andrew Oldham as a solo artist. So, there’s this huge orchestral session with Nico singing, and Andrew asked me to write a B-side with him for Nico, routine, play, and produce it on a separate session, which I did. It’s called The Last Mile. I was a staff producer on Immediate Records. LACAVA: How old were you? PAGE: 19 or 20. I was going to routine her at her apartment just near Baker Street in London with my acoustic 12-string guitar. Nico’s son with Alain Delon was there and he was holding up my guitar in the air, and I decided it was time to rescue it. LACAVA: When did you see her again after that? PAGE: Steve Paul’s Scene Club (Paul’s nightclub The Scene at 46th and Eighth Avenue) had been decorated by Andy Warhol. I don’t know what you’d call it here, but it’s this silver wrap— LACAVA: Mylar. PAGE: All the walls were covered with Mylar because Andy Warhol said that color was the color of speed. And playing down there was Nico and The Velvet Underground. I had an incredible connection with Lou Reed, and we spent lots of time talking. SABET: Was that the first time you met him? PAGE: Yeah, and I’d seen The Velvet Underground on more than one occasion. They were almost like a resident band. Andy Warhol was keen for them to be there. I can tell you exactly what it was like. When I heard the first album, it was just exactly what they were like. They were just like that. It was absolutely phenomenal. LACAVA: See, that’s interesting in the context of his new project, as well. The difference between seeing someone in person versus the recording… PAGE: The other thing about Steve Paul’s and The Velvet Underground was that it didn’t really have too many people coming to hear it, which I found extraordinary. LACAVA: How many people were there? PAGE: Well, hardly any people. Like, nine, a dozen people. It was so radical, such a radical band. You know, Maureen Tucker just playing the sort of snare drum. And the fact that there was the electric viola with John Cale. You just didn’t get this sort of line-up. It was really arts lab, as opposed to pop music, this wonderful glue, this synergy between them that was dark. It was very dark. LACAVA: You mentioned Warhol. Do you remember seeing him there? PAGE: No, he wasn’t actually there, but I met him with the Yardbirds. I don’t actually remember the hotel, but there was a reception for the Yardbirds. He came in, and he was with one other person. I was talking to him, and he said, ‘I just want to feel the band, feel the Yardbirds.’ “I want to feel their presence,” was the exact quote. We had a conversation and at the end of it he said, “You should come to the Factory, and do an audition.” But we were working, and I didn’t manage to do that. And then I saw him again in Detroit in ’67, when we were playing there. Andy Warhol was proceeding over this wedding, and The Velvet Underground were there. So, I got a chance to say hello again. LACAVA: Something interesting that Scarlett told me once was that you steered her toward self-publishing. That legitimacy doesn’t come from a label—it comes from creating the thing you want to create. PAGE: Yes. LACAVA: You could have told her the opposite, based on your experience. SABET: Jimmy was like, “Well, look. The first Led Zeppelin album, I paid for that.” LACAVA: You produced and paid for it? PAGE: Yes. SABET: They had a record. He then took it to record companies. He took it to Atlantic and said, “This is what we’ve got. I’m not releasing singles. Take it or leave it.” He literally said the words, “I didn’t want to go around cap in hand saying, ‘Oh please. We’d like to write some songs.’ It’s better to do it.” PAGE: What I’ve been producing over the last few years are Led Zeppelin rereleases and catalog items. It means a lot of listening to quarter-inch tapes, and it’s all in real time. I had to approach this project in such a way that the first album speaks for itself. The last and ninth album of the studio albums were Coda, so on every album in between, I had to make sure all of these companion discs were done and present the idea to the record company along with new artwork—that way to ensure the complete vision of the recordings were released. SABET: With the sound engineer, Drew, Jimmy would explain how he wanted to kind of layer some of my voices. And I practiced some on cassette, so it was like a guiding track, and then I’d listen back, and I understood the timing and what we were going to do for each one. If there was a sound or there was a better take, we’d talk about that. PAGE: The first one that I wanted to try was Rocking Underground, which opens up the whole of this work. It was recorded on a cassette tape. It was so noisy, but urgent. I said, this is what we’re going to use, but then it needed some extra work to be done to augment the base layer— LACAVA: Oh, that’s cool! PAGE: So, it opens, and it’s really disturbing, all this ambient noise. And I know we pulled it off. Because there’s such a variety on it, and it will be such a surprise. It’s the sort of thing that you listen to for, say, Side One, from beginning to end. The whole sequencing is there for a reason. LACAVA: We’re living in an age of the ubiquitous podcast. Everyone has those things in her ears.

Led Zeppelin by Led Zeppelin was published one year ago today by ReelArtPress The first and only official illustrated book produced in collaboration with the members of the band. Celebrating 50 years since their formation, it covers the group’s unparalleled musical career and features photographs of Jimmy Page, Robert Plant, John Paul Jones and John Bonham on and offstage, in candid moments and in the recording studio. This definitive 400-page volume includes previously unpublished photos, artwork from the Led Zeppelin archives and contributions from photographers around the world. The book is fully annotated by Jimmy Page, Robert Plant & John Paul Jones.

JPJ and Anssi Karttunen are bringing Sons Of Chipotle 2019 to Big Ears Festival in March 2020 in Knoxville, TN. https://bigearsfestival.org

USA 1970.... home movie camera in the front row. Waiting to hear back which city this is from and if there's any more pics.

The first time I recall seeing that necklace was in 1976 at the Song Remains The Same premiere:

He also played on Jimmy Stevens 'Don't Freak Me Out' LP (1972). Two tracks if I remember correctly.

So it's: September 23rd: similar stage clothes on Sept. 24 Sept. 27: Sept. 28 Sept. 29

Ginger Baker https://www.theguardian.com/music/2019/oct/06/ginger-baker-a-master-and-monster-who-split-rock-music-apart

Chicago 1975 review / Jimmy Page, Robert Plant Interview - by Lisa Robinson https://www.ledzeppelin.com/show/january-20-1975 https://www.ledzeppelin.com/show/january-21-1975 https://www.ledzeppelin.com/show/january-22-1975

FYI, John Paul Jones on Instagram: https://www.instagram.com/johnpauljonesofficial/

Rock icon Eddie Money enjoyed an illustrious career in music, spanning over 45 years of production and performances, before his untimely passing on September 13 at the age of 70. But more than his own achievements, Money was also your average fan, who idolized and fawned over his favorite artists to his heart’s content. One such example is his recollection of Led Zeppelin’s first show. Money was present on January 9, 1969 show at the Carousel Ballroom (aka Fillmore West), during the band’s first public performance. He recalls, “There couldn’t have been more than 400 people in there. They did everything the way the record was gonna be; the record didn’t come out till three weeks after they did that show. I thought, ‘These guys are amazing.’” Money said in an interview with Ultimate Classic Rock in 2012. He also recalls being in the Lansky Bros. clothing store in Memphis, known for being one of Elvis Presley’s favorite places to shop on. “I ran into those guys in a place called Lansky’s… I was buying a big colored shirt that I never wore, and they were buying colored shirts that they were never gonna wear. I told them about the first show that I saw them at and they went, ‘You know, that’s actually when we broke the States.’” Money goes on, saying he enjoyed the company of Jimmy Page and Robert Plant, who later invited him to their Memphis show that night, saying they treated him “just like I was one of the boys.” Money was also present on the band’s July 23, 1978 show at the Green Festival in Oakland, California, which turned out to be Led Zeppelin’s last American stint, covering an audience attendance of over 30,000 people. “Somebody actually beat up one of [promoter] Bill Graham’s people; I don’t know what happened. So I saw the first Led Zeppelin show and the last Led Zeppelin show. I mean, that’s really something,” Money concluded. https://iloveclassicrock.com/eddie-money-was-lucky-to-watch-the-first-and-last-led-zeppelin-show/

The Song Remains The Same original poster artwork and reference images. From the official 50th anniversary book 'Led Zeppelin by Led Zeppelin’ published by ReelArtPress