London police are investigating Liam Gallagher in connection with an alleged assault that took place in London over the summer. Allegations of the assault first surfaced in August, when UK tabloid The Sun published a report claiming Gallagher grabbed his girlfriend, Debbie Gwyther, by the throat during an argument at Chiltern Firehouse in London. The Sun claimed Gallagher was escorted out of the restaurant and proceeded to lash out by yelling, “She is a witch. It was her fault. She is a witch. She is a fucking witch’” Both Gallagher and Gwyther have disputed The Sun’s report. “I have never put my hands on any woman in a vicious manner, Gallagher said in a tweet. In Instagram post, Gwyther called the story a “pack of lies” and said she would be taking legal action against The Sun. However, according to the BBC, police are now investigating the incident after reviewing surveillance footage. “Officers are aware of footage of an incident consistent with assault believed to have taken place in August 2018″ a spokeswoman for London’s Metropolitan Police told the BBC. She added: “The footage has been assessed and inquiries will be made into the circumstances surrounding the alleged incident… No specific allegations have been received at this time.” source https://consequenceofsound.net/2018/10/liam-gallagher-assault-police-investigation/ via Tumblr Police investigating Liam Gallagher after surveillance footage shows him grabbing girlfriend by throat
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Iggy Azalea has canceled her upcoming B”ad Girls Tour” for, as was confirmed to Page Six, “unforeseen circumstances.” The 21-city, five-week tour was slated to kick off on October 27th in Hollywood, Florida. Azalea also confirmed the news on Twitter, saying she’s “genuinely disappointed it cant happen this year.” She added that “the choice was out of my hands and not my call to make.” The tour’s planned opener, Chicago rapper CupcakKe, made similar sentiments, emphasizing that “THIS WAS NOT IGGY THAT CHANGED PLANS.” She also wrote that she “went from getting paid 330K on this tour to 30K,” which is telling in and of itself.
Live Nation has confirmed that refunds are available at the point of purchase. Azalea’s last release was the Survive the Summer EP, which arrived in early August after several delays. source https://consequenceofsound.net/2018/10/iggy-azalea-bad-girls-tour-canceled/ via Tumblr Iggy Azalea’s “Bad Girls Tour” canceled Tomorrow, October 9th, marks what would have been the 78th birthday of John Lennon. To honor the legendary Beatle, Geffen and UMe have released Imagine — The Ultimate Collection, an expansive box set celebrating his landmark 1971 album. It’s available to stream in full below via Apple Music and Spotify. As its name suggests, The Ultimate Collection spans a whopping 140 tracks, spread out over four CDs and two Blu-ray discs, including rare outtakes, previously unreleased demos, and isolated track arrangements. Yoko Ono Lennon oversaw the project herself, leading its creative direction, and worked to give listeners a full picture of the creation of the original album from demo to mastering. “Yoko was very keen that these Ultimate Mixes should achieve three things – to be totally faithful and respectful to the originals, be generally sonically clearer overall and should increase the clarity of John’s vocals,” said engineer Paul Hicks in the collection’s accompanying 120-page book. “‘It’s about John’ she said. And she was right. His voice brings the biggest emotional impact to the album.” Disc one features the original Imagine remixed in stereo sound along with additional singles and extras. Outtakes from the record are included on disc two, which also contains four tracks known as Elements Mixes: string-only renditions of “Imagine” and “How?”, a vocals-only version of “Oh My Love”, and a instrumental take on “Jealous Guy”. Disc three, meanwhile, is filled with Raw Studio Mixes, produced by Ono Lennon and mixed by engineer Rob Stevens. These tracks “are devoid of effects – no reverb or echo, and sans strings – just live, unvarnished and raw.” Presented in 5.1 surround sound, they place “the listener in the center of Ascot Sound Studios with Lennon in front and the band playing all around and behind.” The fourth and final CD contains The Evolution Documentary. Engineered in mono by Sam Gannon, the audio documentary chronicles the journey of each individual Imagine track “from demo to master take via instructions, rehearsals, recordings, multitrack exploration, and studio chatter.” The first Blu-ray includes Hicks’ mix of the original album and its singles, as well as an updated Quadrasonic mix, the first time such a remix has been done in almost 50 years. Subtitled “In the Studio and Deeper Listening”, the second Blu-ray includes Imagine in surround sound and stereo, outtakes, and the Element Mixes. It also features a 29-minute tribute from DJ/longtime Lennon family friend Elliot Mintz that includes interviews with Lennon and Ono. In addition to the box set, the new mixes of Imagine will be made available as a two-CD deluxe edition, a single-CD remaster, a double-LP black vinyl, and a limited-edition double-LP clear vinyl. The digital version found on streaming platforms collects all the audio included on the four CDs. John Lennon Imagine – The Ultimate Collection Artwork: John Lennon: Imagine – The Ultimate Collection [6-disc box set – 4CD+2BD] Tracklist: CD1 – Imagine 01. Imagine The Singles & Extras 11. Power To The People CD2 – The Ultimate Mixes Disc 2 Elements Mixes 01. Imagine (strings only) Album out-takes 05. Imagine (demo) Singles out-takes 17. Power To The People (take 7) CD3 – Raw Studio Mixes Extended Album Versions – Live 01. Imagine (take 10) (take 4 – extended) 06. Gimme Some Truth (take 4 – extended) Out-takes – Live 11. Imagine (take 1) CD 4 – The Evolution Documentary Album tracks only 01. Imagine To further celebrate Lennon’s birthday, Eagle Vision will release completely restored versions of the Imagine and Gimme Some Truth films from 1971 as well as remastered and remixed versions of their respective soundtracks. There is also a new book called Imagine John Yoko by John Lennon and Yoko Ono, published by Thames & Hudson/Grand Central Publishing. The release was compiled and curated by Ono and uses previously unpublished material to tell “the definitive inside story” of the making of Imagine. Additionally, Lennon’s hometown of Liverpool will present a special screening of the aforementioned Imagine and Gimme Some Truth films at The Museum of Liverpool. London’s famed Abbey Road Studios will also paint its iconic wall white with the message “imagine all the people living life in peace” and are encouraging fans to join in and write their own hopeful messages. source https://consequenceofsound.net/2018/10/john-lennon-imagine-ultimate-collection-stream/ via Tumblr John Lennon’s 78th birthday celebrated with six-disc Imagine box set: Stream Following the lead of former First Lady Michelle Obama, former President Bill Clinton and former Secretary of State Hillary Clinton are hitting the road for their very own arena tour. “An Evening with President Bill Clinton and former Secretary of State Hillary Rodham Clinton” will feature the Clintons in conversation, sharing “stories and inspiring anecdotes that shaped their historic careers in public service, while also discussing issues of the day and looking toward the future,” according to Live Nation, which is producing the tour. The tour kicks off on November 18th in Las Vegas, Nevada, with three more dates scheduled in Toronto, Montreal, and Sugar Land, Texas before the year is over. A second, nine-date leg is planned for April and May 2019, with shows scheduled in New York, Detroit, Philadelphia, Boston, and Vancouver, among cities elsewhere. I’d also be remiss not to point out the Coachella-size hole in the itinerary. Tickets go on sale Friday, October 12th at 10:00 a.m. local time. You can also grab them here. “An Evening With The Clintons” Tour Dates: source https://consequenceofsound.net/2018/10/bill-and-hillary-clinton-arena-tour/ via Tumblr Bill and Hillary Clinton are going on an arena tour Live Review: Fleetwood Mac Revisit History and Try to Look Ahead at Chicagos United Center (10/6)10/8/2018 Return of the Mac? Earlier this year, longtime singer, guitarist, and principal songwriter Lindsey Buckingham was fired from Fleetwood Mac — or rather “let go,” if we want to be cordial. “Words like ‘fired’ are ugly references as far as I’m concerned,” drummer Mick Fleetwood told Rolling Stone of the departure. “Not to hedge around, but we arrived at the impasse of hitting a brick wall.” In the same interview, singer, songwriter, and tambourine maestro Stevie Nicks cleared things up, saying: “We were supposed to go into rehearsal in June and he wanted to put it off until November [2019]. That’s a long time. I just did 70 shows [on a solo tour]. As soon as I finish one thing, I dive back into another. Why would we stop? We don’t want to stop playing music. We don’t have anything else to do. This is what we do.” And so, the official story is that Buckingham wanted to chill, they wanted to go, but then you hear Buckingham’s side of the story: “I think what you would say is that there were factions within the band that had lost their perspective. The point is that they’d lost their perspective. What that did was to harm – and this is the only thing I’m really sad about, the rest of it becomes an opportunity – it harmed the 43-year legacy that we had worked so hard to build, and that legacy was really about rising above difficulties in order to fulfill one’s higher truth and one’s higher destiny.” In other words, nothing has changed over the last 40 years with these folks. It Takes Two: Well, that’s not exactly true. Some things have changed, particularly the addition of Crowded House frontman Neil Finn and former Heartbreakers guitarist Mike Campbell, who both get the rewarding journey of trying to make everyone forget about Buckingham. Not surprisingly, the rest of the band turned a cold shoulder on their old friend, partner, and lover, leaning curiously heavy on their salad days, as if to say, “Look, this band’s always been more than Lindsey,” which, look, they’re not wrong, but it also seems a tad convenient. But convenience has been king in this situation for the band, as Fleetwood cheekily told Billboard: “It’s ironic that we have a 50-year package coming out with all the old blues stuff with Peter Green, all the incarnations of Fleetwood Mac, which was not of course planned. But that’s what we’re feeling, especially myself and [bassist] John [McVie], having been in Fleetwood Mac for 55 years. So it’s exciting, totally challenging in the whole creative part of it, and we’re really loving it.” It’s a nice coincidence that works wonders for the outfit right now. Still, the addition of Finn and Campbell only stresses the impossibility of replacing Buckingham, seeing how it took two musicians to swap out one. Granted, Finn gets the job done (especially on the harmonies for hits like “The Chain” or “Go Your Own Way”), and you even get to hear him duet his band’s biggest hit (“Don’t Dream It’s Over”) with Nicks, but it’s impossible to buy any of the band’s theatricality, which has always been one of their on-stage trademarks. Even when they were phoning it in, you at least knew there was a history there. Perhaps that’s why Campbell is the easiest new face to consider. Given his ties with the band, the legendary Heartbreaker actually makes sense, and there’s at least some narrative to be felt — even outside of the Mac. After all, here’s a guy who’s still reeling from the tragic passing of his brother-in-arms Tom Petty, and so, this gig actually winds up being the perfect opportunity for him to grieve the loss. Seeing him up there, bouncing around and adding a curveball to Buckingham’s signature riffs and scales was admittedly quite an enigmatic experience. Though, when it came time to actually pay homage to Petty, the band more or less fumbled. Instead of covering “Stop Draggin’ My Heart Around” or “Insider” or “I Will Run To You” or any of the multiple Petty-Campbell-Nicks options out there, they stuck to the predictably simple sing-a-long of “Free Fallin'”. Sure, it was “nice” to hear Nicks take the reins on the legendary FM hit, but c’mon, this was a chance to dig deep and do something really special. Instead, it all felt so lazy, and it didn’t help that Getty-stamped photos were flashing in the background throughout the cover. No, really: The True Mac Daddy: Nicks sounds straight off the vinyl. Fleetwood can bang a drum like he’s in his thirties. John McVie is still John McVie. Hell, we’ll even give a round of applause to Finn for giving the second-best Buckingham impersonation after Bill Hader. But, the true Mac Daddy of the night was Christine McVie. The band’s oft-forgotten vocalist and keyboardist has only been back with the gang for a little over four years, after retiring from the stage in 1998, and she proves on this tour why her loss is paramount. Not only does she lead the group’s more accentuated hits — ahem, “Everywhere” and “Little Lies” — but she also oozes with character, opting to go off-script in ways that felt incredibly natural and jamming out like the biggest fan in the room. She also hardly took a break like, say, Nicks, who would vanish from time to time. (That’s no dig on Nicks; this writer would have passed out 15 minutes into the show.) No, McVie’s a trooper from beginning to end, and blame it on Buckingham’s absence, but her presence is far more defined on this go-around. So much so that the entire set ends with an unlikely duet between McVie and Nicks on “All Over Again”, a deep cut off of 1995’s Time, the first album at the time not to feature Nicks since 1974’s Heroes Are Hard to Find. It’s a bold move by the band, given that it’s hardly an epic closer or anything, but it’s a smart move. Seeing the two of them setting aside their differences and sharing the spotlight felt like a proper moment to end on. If anything, it feels emblematic of a time when women have never been more united. It was beautiful. That One Song: It’s a tossup between “Little Lies” and “Rhiannon”. The former is one of those bops you tend to forget, only to hear again and say, “Oh my god, I love this fucking song,” while the latter is a legend in its own right. When Nicks began singing the mesmerizing ballad, which dates all the way back to 1975, she had the support of every single soul in the audience. Those who were leaving to get beer or hit the john quickly ran back to their seats. Those who were waiting to hear it all night bled their lungs out. Those who have loved this band forever and ever were in tears. It’s the song and always will be the song, and as long as Nicks is around, it’ll always be the song of the Mac. Lindsey, Can You Ever Forgive Them? Setlist: source https://consequenceofsound.net/2018/10/live-review-fleetwood-mac-revisit-history-and-try-to-look-ahead-at-chicagos-united-center-10-6/ via Tumblr Live Review: Fleetwood Mac Revisit History and Try to Look Ahead at Chicago’s United Center (10/6) Ozzy Osbourne‘s final trek hit a bump in the road over the weekend when the he had to undergo hand surgery as the result of an infection. The Prince of Darkness was forced to postpone his Saturday night concert (October 6th) at the Shoreline Amphitheatre in Mountain View, Calif., after hitting the hospital that morning for the medical procedure. According to a press release, Osbourne was expected to remain at Cedars-Sinai hospital in Los Angeles for a few days, where he will be under doctor’s care. A picture of Ozzy’s bandaged hand, as provided by his publicist, can be seen below. The postponed show, meanwhile, has been rescheduled for October 16th. As of now, the metal legend is expected to return for his Tuesday concert (October 9th) in Chula Vista, California, and play what were to be the remaining dates of this leg of the tour, October 11th in Los Angeles and October 13th in Las Vegas — in addition to the makeup show on the 16th. Stone Sour will continue to support Osbourne for the next three dates, but will not be available to play the October 16th makeup show. A new opener for that gig will be announced shortly. Following this North American run of his No More Tours 2 trek, Osbourne will embark on a winter 2019 tour of Europe with support from fellow metal icons Judas Priest. That trek kicks off January 30th in Dublin, Ireland. We caught Ozzy’s concert in Jones Beach, New York, last month. Check out our review of the show here. source https://consequenceofsound.net/2018/10/ozzy-osbourne-infection-hand-surgery/ via Tumblr Ozzy Osbourne postpones show after infection forces hand surgery Death Cab for Cutie are currently out supporting their new album, Thank You for Today. However, all those new songs didn’t stop Ben Gibbard and co. from feeling a little nostalgic during their Chicago stop at the Auditorium Theatre on Sunday evening. The night marked the 15th anniversary of their iconic fourth studio album, 2003’s Transatlanticism, and to celebrate, the band surprised fans by performing the entire album in full. What’s more, they even returned for two (!) proper encores. (Read: Five Reasons Death Cab For Cutie’s Transatlanticism Should Be Everyone’s Favorite) It’s a pretty impressive feat, especially given that this isn’t exactly the type of band that traditionally does this sort of thing. Perhaps being in the Windy City inspired the guys to tear a page or two from Wilco, who have made this one of their many hallmarks. Regardless, watch fan-shot footage below and consult the setlist shortly after. Setlist: Transatlanticism: Encore: Encore 2: source https://consequenceofsound.net/2018/10/death-cab-for-cutie-translatlanticism-video-setlist/ via Tumblr Death Cab for Cutie perform Transatlanticism in full for 15th anniversary: Video + Setlist The Lowdown: In the title song of Phosphorescent’s C’est La Vie, Matthew Houck sings “C’est la vie, they say/ But I don’t know what they mean.” After listening to this laid-back album, this listener doesn’t know what Houck means either. Since his remarkable 2013 album, Muchacho, Houck’s life has changed considerably: He fell in love with fellow musician, Jo Schornikow, had two kids, and moved from Brooklyn to Nashville. His sound, however, hasn’t changed much: You’ll recognize his stuttering atmospherics, keening tenor, swelling and unhurried tempos, and the plaintive pedal steel. If anything, Houck sounds like his spiritual uncertainty has mellowed into a pretty sweet family life. While the rest of America, including his hero Willie Nelson, is pissed the hell off — either preaching from our individual pulpits or roiling in despair — Houck is trying to take a long view from his own front porch. The Good: Phosphorescent’s downbeat yet good-natured alt-country can soothe you and spark a grin. At his poppiest, Houck sounds like Springsteen charming a working-class, good-time crowd; at his jammiest, he sounds like the War on Drugs in a rocking chair. (In a good way!) Nearing 40, Houck doesn’t shy away from writing about his comfort and joy. On bouncy, sandy single “New Birth in New England”, he sings of his partner and children as lovely twists of fate and sounds like Kenny Chesney covering Bob Dylan’s Desire (in a good way!). The final refrain “Don’t I know ya” builds over an organ shuffle, echoing the sweet gospel of Hiss Golden Messenger. Houck is best when he gets strange. Six-minute “Christmas Down Under” is the closest C’est La Vie gets to the contemplative epic of “Song for Zula”, Muchacho’s standout track. On “Christmas”, Houck is washed up on a surreal shoreline, musing that “Jesus had a daughter” while a submerged beat pulses and pedal steel shimmers overhead. But unlike on “Zula”, he’s not alone in his meditations — he’s joined by multiple Auto-Tuned voices, singing the same lines. When you consider his partner is Australian, a holiday in an upside-down world feels quite ordinary. The Bad: The album is bookended by wordless wilderness: “Black Moon/Silver Waves” begins with a whoop and an eerie chorus howling in the night over arrhythmic strums, and the inverted outro “Silver Moon/Black Waves” rumbles out into darkness. Between these two bursts of chaos, however, are 39 minutes of middle-of-the-road civility. On “These Rocks”, Houck repeats, “I was drunk for a decade,” but won’t really change his life, shrugging, “Thinking about putting that stuff away.” The blues of the lyrics could’ve been compelling in their paralysis, but the tone is light, like a slightly bummed Dr. Dog. Throughout, the singer is supported by a breathy choir, floating him far above any consequences. “I wrote all night/ Like the fire of my words could burn a hole up to heaven,” Houck sings on “C’est La Vie No. 2”. “I don’t write all night burning holes up to heaven no more” — a fitting thesis for leaving behind youthful delusions. But did he leave behind his passion, his fight, his seeking, too? Verdict: C’est La Vie has moments of real beauty and depth while reflecting on fatherhood and settling down. But Houck should keep pushing into the strange, uncomfortable places where his best music gets made; now’s not the time to shrug it off. Essential Tracks: “Christmas Down Under” and “New Birth in New England” source https://consequenceofsound.net/2018/10/album-review-phosphorescent-finds-the-sweet-life-on-cest-la-vie/ via Tumblr Album Review: Phosphorescent Finds the Sweet Life on C’est La Vie The Pitch: Falling to Earth after being abandoned by her TARDIS, the newly-regenerated Thirteenth Doctor (Jodie Whittaker) is immediately thrust into a life-or-death situation investigating a mysterious alien pod that’s just arrived in Sheffield. Fortunately for her, she’s assisted by an intrepid group of new human companions, including the dyspraxic Ryan (Tosin Cole), his sheepish step-granddad Graham (Bradley Walsh), and underappreciated policewoman Yas (Mandip Gill). Together, the four of them, along with Ryan’s nan Grace (Sharon D. Clarke) must foil an interstellar manhunt. Same Software, Different Case: Like its protagonist, Doctor Who has survived this long thanks to its endless ability to regenerate – the malleability of its imaginative premise lends itself inherently to the kind of change that came between seasons 10 and 11. In this way, season 11 of Doctor Who is a fresh start for the show, with a new Doctor, new showrunner (Broadchurch’s Chris Chibnall), new companions and new, more cinematic look. The episode itself is about change – the ways in which we move forward in the face of events that change everything about who we are, the divide between the person you are and the person you’re going to be. “We are capable of the most incredible change,” the Doctor says, and the characters and show alike prove that sentiment in numerous ways. In the season’s premiere episode, “The Woman Who Fell to Earth,” all these changes make for a layered, stripped-down version of the show that feels refreshingly back to basics. There’s no fancy title sequence, the Doctor is missing her TARDIS (the search for it appears to be the major thrust of the series), and the main crew is a tight-knit ensemble of four as opposed to the common Doctor-companion pairing we’ve become accustomed to in the past. It’s a good sign, as Chibnall works best with these kind of emotionally complex ensemble dramas as opposed to fitting into the old mold of Doctor Who (just look at any of his previous episodes for the show). If Chibnall must put a little Broadchurch into his version of Doctor Who – complete with interpersonal family drama, tear-jerking funerals, and people looking forlornly across vast grassy plains – then so much the better. Doctor Who has been crawling slowly but surely towards higher production values over the course of its run, and it’s great to see the show’s look finally reach the level of quality we can expect from prestige dramas. Who’s new cinematography is vast, colorful and sharp, director Jamie Childs making the most of Chibnall’s Broadchurch roots to give even this Earth-based adventure a much needed facelift. The bigger change, honestly, is new composer Segun Akinola taking over for Murray Gold, who composed every season of the revival until now – Akinola’s music is an ambient, synth-tinged breath of fresh air from Gold’s bombastic leitmotifs; we’re still scrambling to hear what his version of the Who theme is, but his quieter approach seems a perfect fit for this new iteration of the show. It’s About Time: And, of course, there’s the much-heralded new Doctor (the first woman to play the role), who makes a stellar impression with her first full-length adventure. Whittaker’s take on the character hearkens back to the kind of motor-mouthed joie de vivre of David Tennant, but with a big heart and distinctly Yorkshire twang. She’s a curious cat, adorably self-effacing at times and admirably brave in others – in short, the perfect qualities for a Doctor. Here, at the very beginnings of her tenure in the role, it’s thrilling to see her wide-eyed, expressive interpretation of the Time Lord take shape – it’ll be fascinating to see how she makes her mark in the part over the next few years, and hopefully beyond. Regeneration episodes are always a tricky litmus test for a new Doctor – the new actor spends much of the episode in a manic daze as the new regeneration (and new performer) gets used to moving around in their new skin. This leaves little room to really dig into the monster of the week, this time a tooth-collecting alien hunter named “Tim Shaw” (at least, that’s what his alien name sounds like to the Doctor, much to Tim’s chagrin). Even with the premiere’s extended runtime, the chase to prevent Tim from hunting down an unsuspecting human for his bounty takes a backseat to developing the Doctor and her three co-leads. Still, that’s small potatoes, especially when it gives the audience more time to get used to the show’s numerous changes. The Verdict: If this first adventure is any indicator of the season to come, series 11 of Doctor Who is off to a brilliant start. Whittaker is firing on all cylinders, her companions are dynamic and have their own built-in interpersonal issues to sort out (e.g. Ryan’s tension toward his step-gramps Graham, especially in the wake of the premiere’s events), and the look and scope of the season is extremely ambitious. While it’s easy to miss some of the show’s hallmarks – the title sequence, the TARDIS – here’s hoping the show will find them along the way just as the Doctor and her companions search for her time-space machine. Where’s It Playing?: Doctor Who swashbuckles its way through time and space Sundays at 8pm Eastern on BBC America. Trailer: source https://consequenceofsound.net/2018/10/tv-review-doctor-who-series-11/ via Tumblr TV Review: Doctor Who Brilliantly Regenerates for Series 11 A new statue immortalizing Soundgarden frontman Chris Cornell was unveiled in the singer’s hometown of Seattle on Sunday. Cornell’s family and friends, including members of Soundgarden, were on hand for unveiling ceremony, which took place Seattle’s Museum of Pop Culture. The life-size statue was commissioned by Cornell’s wife Vicky and designed by artist Nick Marra. Featuring his signature boots, dog tag, long locks, and Gibson Memphis guitar, the statue will be on display at the Museum of Pop Culture for all of his fans to see. It was storming during the ceremony, which seemed fitting to Jasen Emmons, Artistic Director at MoPOP. “The clouds tonight somehow feel right for someone who brought us so much dark, beautiful music,” Emmons said during his remarks. “He was the voice of a generation, and an artist that continues to draw us closer together, forever,” added Vicky Cornell. See video of the unveiling and photos of the statue below.
Cornell was found dead in a Detroit hotel room on May 18th, 2017, just hours after a Soundgarden concert. Following an autopsy, a medical examiner ruled his death as a suicide. source https://consequenceofsound.net/2018/10/chris-cornell-statue-seattle-unveiling/ via Tumblr Chris Cornell statue unveiled in Seattle |