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

This is Larry Vaughan: I spoke to him years back.

'Skin Flick' (1973) -- Led Zeppelin skin-beater, John Bonham paid a visit to Santa Pod Raceway recently to be filmed at the controls of Clive Skilton's AA/Fueler. The filming was for a full-length feature about the group that includes the sights and sounds at two or three of their biggest concerts plus some incidental material about the guys themselves. As Mr. Bonham is a bit of a car freak, it was decided to include a slice of drag racing film to complement the sound of a pretty wild drum solo from John. Obviously, a film not to be missed, so keep an eye and an ear out for it sometime early next year. [by Roger Philips]

Tour of Cabana Hotel Renovation Project https://www.nbcdfw.com/news/local/EXCLUSIVE-Tour-of-Cabana-Hotel-Renovation-Project-560617231.html

A GUITAR CASE STORY by Jeff Curtis: After 47+ years, I can finally share the following story: In June, 1972 I went to see Led Zeppelin perform at the Nassau Coliseum here on Long Island. There was one particular roadie, Mick Hinton, John Bonham’s drum tech, who I had said hello to the previous year, when the group played in Madison Square Garden in 1971. After the latter concert ended, I went up to the row of seats behind the stage at the coliseum and yelled down to him again. He seemed to recognize me from the 1971 concert and yelled hello back. On a whim, I asked if I might come down and help them pack up the equipment. To my complete surprise, he says yes. “How do I get down there?” He then picks and tosses a guitar case to me! I walked down, past two security checkpoints with the case in hand, up onto the stage, and handed it back to Mick. After the few minutes it took to pack up the drums, he says to me, “You can have that.” I was speechless, to say the least! “Where will the guitar go?” He took me over and showed me Jimmy Page’s number one Les Paul guitar in its brand new anvil road case. The case I was given was being discarded that night since its back was crushed and no longer afforded protection to the guitar. Talk about being in the right place at the right time! So began my decades-long possession of a genuine rock n’ roll artifact. But I also realized from that point onward that it was something I couldn’t talk about. While there have been a small handful of friends over the years who were aware that I had it, I had kept this a deep secret over the past 47 years in fear that someone might either burglarize my house or worse, threaten me in order to steal it. For this reason, I had decided a couple of years ago that I no longer wanted the guitar case. Despite its certain significant monetary value to a collector, I had also decided that I wouldn’t ever sell it since making money off someone else’s fame is simply against my principals. I decided that I would find a way to personally return it to Jimmy Page. But how to accomplish this? How would I get in touch with the right people to set up a meeting? Back in July, I went to see the “Play It Loud” exhibit at the Metropolitan Museum of Art in New York City. Jimmy Page’s number one Les Paul guitar was one of the instruments on display. I got the idea that maybe I could be put in touch with his people via the exhibit’s curator. A few days later, I called the museum and spoke with the curator’s assistant who asked me to send an e-mail with photos, which I did. About two weeks later, I got a call from a gentleman, Perry, who works with Jimmy. He asked to set up a meeting to personally examine the case and take several more detailed photos. About a month later, I received word that Jimmy wanted to meet me and have the case returned. So, on a beautiful Sunday afternoon in a hotel lounge in New York City, my two daughters, a close friend and I had the pleasure of a 1-hour sitdown and conversation with Jimmy, with him finally getting the guitar case back. When I opened it up, the look on his face was priceless: “What memories this brings back!” “Thank you so much!” In person, he is a genuinely warm and very welcoming gentleman. We talked about Led Zeppelin, he asked about my musical influences, asked my daughters what type of music they enjoyed and various other topics. I gave him copies of both my CDs, which he said he would listen to. He also had brought me a special limited box set edition of “Led Zeppelin 2” and signed its book as well as another book I had brought with me. I can honestly say that after the first few minutes, my nervousness completely disappeared and it felt like I was talking with an old friend. Nevertheless, the experience of having had the opportunity to sit down with the very person whose music not only greatly influences my own but also inspired to me to initially pick up and learn to play the guitar almost 50 years ago is something that I will never forget! Thanks so much Jimmy and thank you Perry! Mission accomplished.

Concert review: Robert Plant wows CityFolk Lynn Saxberg September 16, 2019 Rock legend Robert Plant knows how to grab an audience’s attention, take it down a rabbit hole of musical exploration and pull out a once-in-a-lifetime experience that leaves you changed. That was the arc of his fantastic main-stage performance at Ottawa’s CityFolk festival at Lansdowne Park on Sunday, the grande finale of this year’s edition and the second-biggest night of the fest (after Friday’s triple rock bill with Our Lady Peace, Live and Bush). As Dawes singer Taylor Goldsmith pointed out during his band’s set earlier in the day, most of the artists on the bill were influenced by Plant at some stage of their evolution. Artists and fans alike were thrilled at the chance to share airspace with an original rock god. Now 71, Plant is still writing and recording new music, most recently on his excellent 2017 album, Carry Fire. It’s a melange of folk, blues, world-music and psychedelia recorded with the Sensational Space Shifters, who were also accompanying him on Sunday, and lived up to the “sensational” billing with their impressive abilities. But naturally, it was Plant who directed the proceedings. His hair still long and curly, the Rock ‘n Roll Hall Of Famer unleashed his signature, soul-stirring wail, opening the show with the old Led Zeppelin nugget, What Is and What Should Never Be, the familiar notes sending a ripple of excitement through the crowd. As an opener, it was brilliant because the crowd fell into his palm and stayed there through thick and thin, lapping up the new songs, the soloing and even the extended bits of improvisation that occasionally veered into trippy electronics. When Plant greeted the audience, it was to remark on the years that had passed since his last visit to the nation’s capital, which was a 2011 appearance at the Ottawa Jazz Festival with his Band of Joy. “We were a jazz band then,” he noted. “Now we’re a folk group.” Truth is, Plant and his bandmates can take any genre and create something special. Old songs and new benefited from the instrumental abilities of the band as a whole, but especially sweet was the work of fiddler Lily Mae Rische and guitarist Liam ‘Skin’ Tyson. The reworked Led Zep tunes, notably Black Dog, Babe I’m Gonna Leave You, Gallow’s Pole and Ramble On, were downright irresistible. Of the more recent material, the standout was the warm and tender The May Queen, a tribute, Plant said, to the goddess who brings the good things of summer. The chill in the air was a reminder that that those good things are coming to end, but Plant’s show will be remembered as one of the best of a stellar summer festival season. https://ottawacitizen.com/entertainment/local-arts/robert-plant-wows-cityfolk

Did not happen. I don't recall this even being tentatively scheduled.

Jimmy Page: The Anthology LIMITED EDITION NOW AVAILABLE JimmyPageAnthology.com As a subscriber to JimmyPage.com mailing list, we are pleased to offer you access to this highly anticipated edition of only 2,500 signed copies, now available to order from JimmyPageAnthology.com. 'In this book, I wanted to include items from my personal archive that have played a part in my overall story, to give the detail behind the detail.' – Jimmy Page A companion piece to Jimmy Page by Jimmy Page, the new signed, limited edition documents Page’s musical career through selected material from his rich personal archives. Jimmy Page: The Anthology is narrated entirely in Page's own words, and includes contextual photography spanning six decades. Pre-Order Now *Pre-order at the pre-publication price. Your order will be dispatched during December 2019. Signed by Jimmy Page Quarter bound in black leather with gold leaf blocking and gilt page edging Felt-lined slipcase Limited to 2,500 copies Following the sell-out success of Jimmy Page's first book, we are delighted to introduce Jimmy Page: The Anthology. In his new signed limited edition, Jimmy Page's musical career is documented in his own words, illustrated with vintage photographs and items from Page's own archives presented for the first time. Published Dec 2019 Large format: 280mm x 330 mm 384 pages Pre-order now. Shipping December 2019. Pre-Publication Price: £395 More Details Pre-Order Now

This was posted before, from years back. The amazing Kutiman's Black Dog mash-up: