Rare Book Featuring the Concept Art for Jodorowsky’s Dune Goes Up for Auction (1975)

in Books, Film, History, Sci Fi | November 9th, 2021

Denis Villeneuve’s new adaptation of Frank Herbert’s Dune has made a decently promising start to what looks set to shape up into an epic series of films. But however many installments it finally comprises, it’s unlikely to run anywhere near as long as Alejandro Jodorowsky’s version — had Jodorowsky actually made his version, that is. Previously featured here on Open Culture, that project promised to unite the talents of not just the creator of the Dune universe and the director of The Holy Mountain, but those of Mœbius, H.R. Giger, Salvador Dalí, Pink Floyd, Orson Welles, and Mick Jagger. Even David Lynch’s Dune, for all its large-scale weirdness, would surely play like My Dinner with Andre by comparison.

Alas, none of us will ever get to see Jodorowsky’s Dune, now one of the most storied of all unmade films. But one of us — one of the deep-pocketed among us, at least — now has a chance to own the book. Not Herbert’s novel: the book assembled circa 1985 as a pitching aid, meant to show studios the extensive pre-production work Jodorowsky, producer Michel Seydoux, and their collaborators had done.

“Filled with the script, storyboards, concept art, and more, the book is basically as close as anyone can get to seeing Jodorowsky’s version of Dune,” writes io9’s Germain Lussier. “But, of course, the director and his team only created a handful of copies and this was decades ago. This isn’t a book you can just get on Amazon.”

But you can get it at Christie’s, on whose auction block it’s expected to go for between €25,000 and €35,000 (around USD $30,000–40,000). Reckoning that only ten to twenty copies were ever printed, the house’s listing describes the book as “an extraordinary artifact” from “a doomed project which inspired legions of film-makers and moviegoers alike.” Despite all of Hollywood ultimately passing on this enormously ambitious adaptation, “all of this was not in vain.” Jodorowsky himself claims that, though unrealized, his Dune set a precedent for “a larger-than-life science fiction movie, outside of the scientific rigor of 2001: A Space Odyssey.” Its influence, according to Christie’s, is present in 1970s films like Star Wars and Alien. Would it be too much to sense a trace of the Jodorowskyan in Villeneuve’s Dune as well?

Mœbius’ Storyboards & Concept Art for Jodorowsky’s Dune

Mœbius & Jodorowsky’s Sci-Fi Masterpiece, The Incal, Brought to Life in a Tantalizing Animation

The Dune Graphic Novel: Experience Frank Herbert’s Epic Sci-Fi Saga as You’ve Never Seen It Before

Alejandro Jodorowsky’s 82 Commandments For Living

Watch the First Trailer for Dune, Denis Villeneuve’s Adaptation of Frank Herbert’s Classic Sci-Fi Novel

Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Facebook.

by Colin Marshall | Permalink | Make a Comment ( None ) |

A Fascinating 3D Animation Shows the Depths of the Ocean

in Animation, Nature, Science | November 9th, 2021

Deep sea exploration and the science of oceanography began 150 years ago when British survey ship HMS Challenger set off from Portsmouth with 181 miles of rope. The Royal Society tasked the expedition, among other things, with “investigat[ing] the physical conditions of the deep sea… in regard to depth, temperature circulation, specific gravity and penetration of light.” It was the first such voyage of its kind.

To accomplish its objectives, Challenger swapped all but two of its guns for specialized equipment, including — as assistant ship’s steward Joseph Matkin described in a letter home — “thousands of small air tight bottles and little boxes about the size of Valentine boxes packed in Iron Tanks for keeping specimens in, insects, butterflies, mosses, plants, etc… a photographic room on the main deck, also a dissecting room for carving up Bears, Whales, etc.”

Findings from the four-year voyage totaled almost thirty-thousand pages when published in a report. But the Challenger’s most famous legacy may be its discovery of the Mariana Trench. The ship recorded a sounding of 4,475 fathoms (26,850 ft.) in a southern part of the trench subsequently called Challenger Deep, and now known as the deepest part of the ocean and the “lowest point on Earth.” The most recent soundings using advanced sonar have measured its depth at somewhere between 35,768 to 36,037 feet, or almost 7 miles (11 kilometers).

Challenger Deep is so deep that if Everest were submerged into its depths, the mountain’s peak would still be roughly a mile and a half underwater. In 1960, a manned crew of two descended into the trench. Dozens of remote operated vehicles (ROVs) have explored its depths since, but it wouldn’t be until 2012 that another human made the 2.5 hour descent, when Avatar and The Abyss director James Cameron financed his own expedition. Then in 2019, explorer Victor Vescoso made the journey, setting the Guinness world record for deepest manned submarine dive when he reached the Eastern Pool, a depression within Challenger Deep. Just last year, he bested the record with his mission specialist John Rost, exploring the Eastern Pool for over four hours.

Last year’s descent brings the total number of people to visit Challenger Deep to five. How can the rest of us wrap our heads around a point so deep beneath us it can swallow up Mount Everest? The beautifully detailed, 3D animation at the top of the post does a great job of conveying the relative depths of oceans, seas, and major lakes, showing undersea tunnels and shipwrecks along the way, with manmade objects like the Eiffel Tower (which marks, within a few meters, the deepest scuba dive) and Burj Khalifa placed at intervals for scale.

By the time the animation — created by MetaBallStudios’ Alvaro Gracia Montoya– submerges us fully (with booming, echoing musical accompaniment) in the Mariana Trench, we may feel that we have had a little taste of the awe that lies at the deepest ocean depths.

What the Earth Would Look Like If We Drained the Water from the Oceans

Climate Change Gets Strikingly Visualized by a Scottish Art Installation

Filmmaker James Cameron Going 36,000 Feet Under the Sea

Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

by Josh Jones | Permalink | Make a Comment ( None ) |

How Martin Luther King, Jr. Wrote His Momentous “I Have a Dream” Speech (1963)

in History, Politics | November 9th, 2021

Martin Luther King, Jr.’s “I Have a Dream” speech ranks as one of the most famous of American speeches. As Evan Puschak, the Nerdwriter, says in his video above, it’s “arguably the most important and well-known speech of the 20th century.” King’s popular vision of a peaceful, harmonious, multiracial democracy might explain why nine out of ten Americans have a positive attitude toward King now. That polling looks very different by party affiliation. Even so, many more Americans look fondly on King’s memory than supported (or now support) the racial and economic justice for which he fought. The current use of King as a whitewashed martyr figure, Michael Harriot argues, obscures the reality of “a dream yet unfulfilled,” as King once called the U.S.

Even after King’s “I Have a Dream” speech at the 1963 March on Washington and his 1964 Nobel Peace Prize win, only about 37% of Americans approved of his message in 1966 Gallup polling, a number that dropped even lower when he came out against the Vietnam war in 1967. Approval for MLK “only started to shift after his assassination in 1968,” writes Senior Data Scientist Linley Sanders at YouGov. King’s “Dream” speech at the Lincoln Memorial may be posthumously remembered as his finest hour by those who weren’t there. For thousands of people who were, his address was also a fiery summation of the major themes up to that point in dozens of speeches and sermons.

“Riddled with big difficult terms and full of rhetorical devices that are intentional and practiced,” Puschak says, the speech eloquently explained “why fully 100 years after… the Emancipation Proclamation,” Black Americans were still politically disenfranchised and economically disadvantaged. It did so through a series of dense allusions to the Emancipation Proclamation, the country’s founding documents, the song “My Country ‘Tis of Thee,” and other artifacts of American national identity, in an attempt to “frame civil rights in the larger American mythology so that those who identify with that mythology might incorporate this struggle into that story.”

The American story has justified oppression and fear of the same people fighting for full integration into the national polity during the Civil Rights movement, a problematic irony of which King was hardly unaware. He also drew from traditions older than the U.S. founding — the humanism of Shakespeare and the prophetic voices of the Old Testament, for example. These were indeed practiced maneuvers. (King very much lived down the C he once got in a public speaking class.) But the rousing refrains in his speech’s conclusion — which gave the speech its title and spread its fame around the world — were ad-libbed.

“I started out reading the speech, and I read it down to a point… the audience response was wonderful that day” King later remembered. “And all of a sudden this thing came to me that… I’d used many times before… ‘I have a dream.’ ” The reference didn’t come out of nowhere, says Clarence Jones, who helped King write the speech’s text just hours before it was delivered. Jones recalled that King’s favorite gospel singer Mahalia Jackson called out for the then-familiar (to her) theme:

As he was reading from the text of his prepared remarks, there came a point when Mahalia Jackson, who was sitting on the platform, said, “Tell them about the dream, Martin! Tell them about the dream.”

Now I have often speculated that she had heard him talk in other places… and make reference to the dream. On June 23, 1963, in Detroit, he had made very express reference to the dream.

When Mahalia shouted to him, I was standing about 50 feet behind him… and I saw it happening in real time. He just took the text of his speech and moved it to the left side of the lectern. … And I said to somebody standing next to me: “These people don’t know it, but they’re about to go to church.”

Before celebrating a redeemed interpretation of the American dream in his extemporaneous finale, King’s speech condemned the nation’s reality as morally corrupt and illegitimate. He urged restraint among his followers through nonviolent “direct action,” but foresaw worse to come before the country could realize its potential.

It would be fatal for the nation to overlook the urgency of the moment. This sweltering summer of the Negro’s legitimate discontent will not pass until there is an invigorating autumn of freedom and equality. 1963 is not an end, but a beginning. Those who hope that the Negro needed to blow off steam and will now be content will have a rude awakening if the nation returns to business as usual.

“There will be neither rest nor tranquility in America until the Negro is granted his citizenship rights,” King continued. “The whirlwinds of revolt will continue to shake the foundations of our nation until the bright day of justice emerges.” Maybe it’s little wonder many white Americans, hearing these remarks, turned away from King’s vision of racial justice, which required reckoning with “the unspeakable horrors of police brutality.” Ending the “unearned suffering” of Black Americans, King knew, would come at too great a cost to unearned privilege. Indeed, the FBI heard King’s words as a direct threat to the country’s historic power structure. After the “I Have Dream” speech, the Bureau seriously intensified its program to surveil, discredit, and destroy him.

Martin Luther King Jr. Explains the Importance of Jazz: Hear the Speech He Gave at the First Berlin Jazz Festival (1964)

Imagining the Martin Luther King and Malcolm X Debate That Never Happened

Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

by Josh Jones | Permalink | Make a Comment ( None ) |

When Nikola Tesla Claimed to Have Invented a “Death Ray,” Capable of Destroying Enemies 250 Miles Away & Making War Obsolete

in History, Technology | November 8th, 2021

Just last week I visited Niagara Falls and beheld the noble-looking statue of Nikola Tesla installed there. It struck me as a fitting tribute to the inventor of the Death Ray. But then, its presence probably had more to do with Tesla’s having advised the builders of the falls’ power plant to use two-phase alternating current, the form of electricity of which he’s now remembered as a pioneer. And in any case, Tesla never actually invented a death ray, or at least he never demonstrated one. He did, however, claim to have been working on a system he called “teleforce,” which shot what he described as a “death beam” — rays, he insisted, would never be feasible — both “thinner than a hair” and powerful enough to “destroy anything approaching within 200 miles,” making warfare effectively obsolete.

These pronouncements attracted special media attention in the 1930s. “Hype about the weapon really took off in the run-up to World War II as Nazi Germany assembled a fearsome air force,” writes Sam Kean at the Science History Institute. “People in Tesla’s homeland, then called Yugoslavia, begged him to return home and install the rays to protect them from the Nazi menace.” But no known evidence suggests that the elderly Tesla had figured out how to actually make teleforce work.

At that point he had more pressing problems, not least the cost of the hotels in which he lived. “In 1915, his famous Wardenclyffe tower plant was sold to help pay off his $20,000 debt at the Waldorf-Astoria,” writes Mental Floss’ Stacy Conradt, and later he racked up a similarly large bill at the Governor Clinton. “He couldn’t afford the payment, so instead, Tesla offered the management something priceless: one of his inventions.”

That “invention” may have been the box examined after Tesla’s death in 1943 by physicist John G. Trump (uncle of former President Donald Trump). Left in a hotel vault, it was rumored to be “a prototype of his death ray.” Tesla had included a note, writes Kean, that “claimed the prototype inside was worth $10,000. More ominously, it said the box would detonate if opened incorrectly.” But when “the physicist steeled himself and began tearing off the brown paper,” he “must have laughed at what he saw underneath: a Wheatstone bridge, a tool for measuring electrical resistance. It was a common, mundane device — some old junk, really. It was certainly not a death ray, not even close.”

Though it must have been as powerful a disappointment as it was a relief, did that discovery prove that Tesla never invented a death ray? The U.S. government didn’t take its chances on the matter: as History.com’s Sarah Pruitt tells it, agents “swooped in and took possession of all the property and documents from his room at the New Yorker Hotel” right after Tesla’s death. And “while the FBI originally recorded some 80 trunks among Tesla’s effects, only 60 arrived in Belgrade,” home of the Nikola Tesla Museum, nearly a decade later. The idea of death rays has long survived Tesla himself, taking on forms from the Reagan administration’s “Star Wars” nuclear defense program to the military laser weapons tested in recent years. Few such technologies seem capable of ending all war, as Tesla promised. But if one ever does, we could honor his memory by referring to it, in the manner he preferred, as not a death ray but a death beam.

The Electric Rise and Fall of Nikola Tesla: As Told by Technoillusionist Marco Tempest

Nikola Tesla Accurately Predicted the Rise of the Internet & Smart Phone in 1926

Mark Twain Plays With Electricity in Nikola Tesla’s Lab (Photo, 1894)

Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Facebook.

by Colin Marshall | Permalink | Make a Comment ( 1 ) |

John Cleese Presents His 5‑Step Plan for Shorter, More Productive Meetings (1976)

in Business, Comedy, Education, Politics | November 8th, 2021

Let’s face it, meetings are boring at best and at worst, chaotic, volatile, and potentially violent. And let’s also face it: to get through life as functioning adults, we’re going to have to sit through one or two of them — or even one or two of them a week.

Maybe we’re the one who calls the meetings, and maybe they all feel like a waste of time. One solution is to have more informal meetings. This can be especially tempting in the age of work-from-home, when it’s impossible to know how many meeting attendees are wearing pants. Fewer rules can raise the spontaneity quotient, but allowing for the unexpected can invite disaster as well as epiphany.

On the other end of the scale, we have the formality of parliamentary rules of order, such as those introduced by U.S. Army officer Henry Martyn Robert in 1876. Robert, whose father was the first president of Morehouse College, gained a wealth of experience with unproductive meetings as he traveled around the country with the Army. One particular meeting became a defining experience, as one account has it:

While in San Francisco, the local leader of his community didn’t show up for a church meeting. Henry Robert was asked to preside over the town hall (without any prior notice). Let’s just say that on this particular evening in 1876, he did a bad job. An hour into the meeting, people were screaming and the church actually erupted into open conflict.

Sadly, this sort of thing has become almost routine at town halls and school board meetings. But it needn’t be so at the office. Nor, says John Cleese in the brief video above, do meetings need to follow the formality of parliamentary procedure.

Cleese’s rules are simpler even than the simplified Roberts or Rosenberg’s Rules of Order, an even more simplified version of Robert’s Rules. Furthermore, Cleese avoids using words like “Rules” which can be a turn-off in our egalitarian times. Instead, he presents us with a “5‑Step Plan” for holding better and shorter meetings.

1. Plan — Clear your mind about the precise objectives of the meeting. Be clear why you need it and list the subjects.
2. Inform — Make sure everyone knows exactly what is being discussed, why, and what you want from the discussion. Anticipate what information and people may be needed and make sure they’re there.
3. Prepare — Prepare the logical sequence items. Prepare the time allocation to each item on the basis of its importance not its urgency.
4. Structure and Control — Take the evidence stage before the interpretation stage and that before the action stage and stop people jumping ahead or going back over ground.
5. Summarize all decision and record them straight away with the name of the person responsible for any action

Easy, right? Well, maybe not so easy in practice, but these steps can, at the very least, illuminate what’s wrong with your meetings, which may currently resemble one of Cleese’s many parodies of business culture. Nobody videophoned it in at the time, but trying to figure out who’s supposed to be doing what can still take up an afternoon. Let Cleese’s five steps bring order to the chaos.

John Cleese Revisits His 20 Years as an Ivy League Professor in His New Book, Professor at Large: The Cornell Years

Monty Python’s John Cleese Creates Ads for the American Philosophical Association

John Cleese’s Very Favorite Comedy Sketches

Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

by Josh Jones | Permalink | Make a Comment ( None ) |

Watch the Jackson 5’s First Appearance on The Ed Sullivan Show (1969)

in Animation, Music, Television | November 8th, 2021

Who discovered the Jackson 5?

Motown founder Berry Gordy?

Empress of Soul Gladys Knight?

Diva Diana Ross?

Everyone in attendance for Amateur Night at the Apollo on August 13, 1967?

For many unsuspecting Americans, the answer may as well have been television host Ed Sullivan, who introduced the “sensational group” of five young brothers from Gary, Indiana to viewers in December 1969, two years after their Amateur Night triumph. Thirteen years earlier, a wall of sound emanating from a live in-studio audience of teenage girls told Sullivan’s home viewers that another young sensation — Elvis Presley — must be something special.

The Jackson 5 needed no such help.

While there are many close-ups of their fresh young faces, the control room wisely chose to zoom out much of the time, in appreciation of the brothers’ precision choreography.

The brightest star was the youngest, eleven-year-old Michael, taking lead vocals in purple fedora and fringed vest on a cover of Sly and the Family Stone’s “Stand.”

Jackie, Tito, Jermaine, and Marlon provide support for a bit of hokum that positions Michael at the center of an elementary school romance, by way of introduction to a full throated cover of Smokey Robinson’s “Who’s Loving You”:

We toasted our love during milk break. I gave her my cookies! We fell out during fingerpainting.

Author Carvell Wallace reflects on this moment in his 2015 New Yorker review of Steve Knopper’s biography MJ: The Genius of Michael Jackson:

Halfway through, he forgets his lines and freezes, looking back at his older brothers for help. It’s an alarmingly vulnerable moment, one only possible in the era of live television. You feel bad for him. It suddenly doesn’t seem right that a kid should be made to perform live in front of an entire country. Yet he somehow finds his way back and stumbles through.

When the music starts, we see something else entirely. The first note he sings is as confident, sure, and purposeful as any adult could ever be. He transforms from nervous child at a talent show into timeless embodiment of longing. Not only does he sing exactly on key but he appears to sing from the very bottom of his heart. He stares into the camera, shakes his head, and blinks back tears in perfect imitation of a sixties soul man. And it feels, for a moment, as though there are two different beings here. One is a child—a smart kid, to be sure, and cute, but not more special than any other child. He is subject to the same laws of life—pain, age, confusion, fear—as we all are. The other being seems to be a spirit of sorts, one who knows only the truest expression of human feeling. And this spirit appears to have randomly inhabited the body of this particular mortal kid. In so doing, it has sentenced him to a lifetime of indescribable enchantment and consummate suffering.

Michael’s explosive performance of the Jackson 5’s first national single, “I Want You Back,” released just two months before their Sullivan Show appearance, gives us that “spirit” in full force.

It’s also not hard to imagine that the brothers’ thrillingly executed choreography is the result of a literally punishing rehearsal regimen, a factor of the King of Pop’s troubled legacy.

The Sullivan Show appearance ensured that there would be no stopping this train. Five months later, when the Jacksons returned to the Sullivan Show, “I Want You Back” had sold over a million copies, as had “ABC,” which they performed as a medley.

Boyhood is fleeting, making Jacksonmania a carpe diem type situation.

The period from 1969 to 1972 saw an onslaught of Jackson 5‑related merch and a funky Saturday morning cartoon whose pilot tarted up the Diana Ross origin story with an escaped pet snake.

It was good while it lasted.

The Origins of Michael Jackson’s Moonwalk: Vintage Footage of Cab Calloway, Sammy Davis Jr., Fred Astaire & More

The Chorus Project Features Teenagers Performing Hits by the Kinks, David Byrne, the Jackson 5 & More

Ayun Halliday is the Chief Primaologist of the East Village Inky zine and author, most recently, of Creative, Not Famous: The Small Potato Manifesto. Follow her @AyunHalliday.

by Ayun Halliday | Permalink | Make a Comment ( 3 ) |

Board Game Ideology — Pretty Much Pop: A Culture Podcast #108

in Games, Podcasts, Pretty Much Pop | November 8th, 2021

As board games are becoming increasingly popular with adults, we ask: What’s the relationship between a board game’s mechanics and its narrative? Does the “message” of a board game matter?

Your host Mark Linsenmayer is joined by game designer Tommy Maranges, educator Michelle Parrinello-Cason, and ex-philosopher Al Baker to talk about re-skinning games, designing player experiences, play styles, game complexity, and more.

Some of the games we mention include Puerto Rico, Monopoly, Settlers of Catan, Sorry, Munchkin, Sushi Go, Welcome To…, Codenames, Pandemic, Occam Horror, Terra Mystica, chess, Ticket to Ride, Splendor, Photosynthesis, Spirit Island, Escape from the Dark Castle, and Wingspan.

Some articles that fed our discussion included:

“The Board Games That Ask You to Reenact Colonialism” by Luke Winkie
“Board Games Are Getting Really, Really Popular” by Darron Cummings
“8 Historical Board Games, from Diverse Designers, That Show Great Promise” by Charlie Hall
“How a Board Game About Birds Became a Surprise Blockbuster” by Dan Kois
“How Classic Board Games Are Bringing Families Closer During the Pandemic” by Drew Weisholtz
“Keep Your Game Night Rolling (At A Safe Distance) With These 3 Online Services” by Petra Mayer

The two games Tommy created that we bring up are Secret Hitler and Inhuman Conditions.

This episode includes bonus discussion you can access by supporting the podcast at patreon.com/prettymuchpop or by choosing a paid subscription through Apple Podcasts. This podcast is part of the Partially Examined Life podcast network.

Pretty Much Pop: A Culture Podcast is the first podcast curated by Open Culture. Browse all Pretty Much Pop posts.

by Mark Linsenmayer | Permalink | Make a Comment ( None ) |

Wunderkind Musician Nandi Bushell Pays Tribute to Charlie Watts, Playing All of the Tracks on “Gimme Shelter”

in Music | November 7th, 2021

We’ve featured 11-year-old Nandi Bushell here before. Perhaps you’ll recall her epic drum battle with Dave Groh l. Today she’s back, paying tribute to Charlie Watts and performing the individual tracks on the Stones’ “Gimme Shelter.” First comes the guitar; then the bass, percussion and vocals; and next the drums–all the while she’s having fun. And you will too. Enjoy.

If you would like to sign up for Open Culture’s free email newsletter, please find it here. Or follow our posts on Threads, Facebook, BlueSky or Mastodon.

If you would like to support the mission of Open Culture, consider making a donation to our site. It’s hard to rely 100% on ads, and your contributions will help us continue providing the best free cultural and educational materials to learners everywhere. You can contribute through PayPal, Patreon, and Venmo (@openculture). Thanks!

Watch an Epic Drum Battle, Pitting a 9‑Year-Old Girl Against Foo Fighter Dave Grohl

Mick Jagger Tells the Story Behind ‘Gimme Shelter’ and Merry Clayton’s Haunting Background Vocals

Merry Clayton Tells the Story of Her Amazing Backing Vocal on The Rolling Stones’ “Gimme Shelter”

by OC | Permalink | Make a Comment ( None ) |

Rare Book Featuring the Concept Art for Jodorowsky’s Dune Goes Up for Auction (1975)

A Fascinating 3D Animation Shows the Depths of the Ocean

How Martin Luther King, Jr. Wrote His Momentous “I Have a Dream” Speech (1963)

When Nikola Tesla Claimed to Have Invented a “Death Ray,” Capable of Destroying Enemies 250 Miles Away & Making War Obsolete

John Cleese Presents His 5‑Step Plan for Shorter, More Productive Meetings (1976)

Watch the Jackson 5’s First Appearance on The Ed Sullivan Show (1969)

Board Game Ideology — Pretty Much Pop: A Culture Podcast #108

Wunderkind Musician Nandi Bushell Pays Tribute to Charlie Watts, Playing All of the Tracks on “Gimme Shelter”

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