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Where Is Rolling Loud California 2024?

Post author By GoneTrending
Post date November 14, 2023

Next year, Rolling Loud California is returning with a newly announced lineup of incredible performers. Nicki Minaj, Post Malone, and Lil Uzi Vert are headlining the festival, which will play on the weekend of March 15-17.

YG & Tyga, PARTYNEXTDOOR, Rae Sremmurd, Sexyy Red, Suicideboys, Summer Walker, Big Sean, Larry June, Don Toliver, Bryson Tiller, Ski Mask The Slump God, Chief Keef, NLE Choppa, 03 Greedo, Luh Tyler, Flo Milli, and more are also playing at the festival.

For those who are interested in attending next year, the festival will be held at Los Angeles’ Hollywood Park, which is on the grounds adjacent to SoFi Stadium.

Earlier this year, the festival had moved to this venue, after hosting it in San Bernadino for 2022. Previous iterations of Rolling Loud California also took place at the Banc Of California Stadium.

“There was no dust or grass or rugged terrain to navigate, with the streets lining the stadium offering the food concessions, water stations, and rest areas all in an easily traversable thoroughfare with few choke points,” Uproxx’s Aaron Williams wrote in his review about Rolling Loud California’s Hollywood Park venue. “Getting around the fest was a breeze. And including three entrances not only increased the sense of convenience but also the feeling that the organizers had prioritized safety, preventing bottlenecking in any one part of the festival grounds as new arrivals got themselves oriented.”

More information about the 2024 festival can be found here.

Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.

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All The Best New Indie Music From This Week

Post author By GoneTrending
Post date November 14, 2023

Indie music has grown to include so much. It’s not just music that is released on independent labels, but speaks to an aesthetic that deviates from the norm and follows its own weirdo heart. It can come in the form of rock music, pop, or folk. In a sense, it says as much about the people that are drawn to it as it does about the people that make it.

Every week, Uproxx is rounding up the best new indie music from the past seven days. This week, we got new music from Hovvdy, Yo La Tengo, Hurray For The Riff Raff, and more.

While we’re at it, sign up for our newsletter to get the best new indie music delivered directly to your inbox, every Monday.

Vyva Melinkolya – Unbecoming

Vyva Melinkolya’s songs are gentle yet portentous, similar to a gray sky on the cusp of a violent thunderstorm. But what if the storm never actually arrives, and the monochrome vistas linger like a diaphanous fog? That’s the feeling that Unbecoming, Angel Diaz’s second album as Vyva Melinkolya, evokes. Like the long stretch of pavement on “I65” and the glacial drums on “Stars Don’t Fall,” Diaz’s latest blossoms gradually, revealing the beauty contained within one moment at a time.

Yo La Tengo – The Bunker Sessions

After releasing one of the best albums of their nearly four-decade career back in February, indie rock luminaries Yo La Tengo are here to remind us, once again, what makes them a touchstone for both veteran musicians and relative newcomers. The Bunker Sessions, a five-song live EP recorded at Brooklyn’s Bunker Studio, revivifies the triumphant camaraderie that animated This Stupid World. Composed of four This Stupid World tracks and “Stockholm Syndrome,” a deep cut from their masterpiece I Can Hear The Heart Beating As One, The Bunker Sessions reifies Yo La Tengo’s live performances for the at-home listener. Given how vital the trio’s live shows are to the YLT experience, receiving this so soon after This Stupid World feels like a gift.

Hurray For The Riff Raff – “Alibi”

Alynda Segarra knows that time isn’t linear. The past connects us to the present, but the past is all around us in ways not immediately apparent. Their forthcoming album as Hurray for the Riff Raff, The Past Is Still Alive, says as much in its title alone, which was recorded a month after the passing of their father. In “Alibi,” the album’s opening track, Segarra explores their memories of him growing up in the Lower East Side, grappling with addiction, grief, and family in just under three minutes. “You don’t have to die if you don’t wanna die,” they exclaim. Like the Tralfamadorians explain to Billy Pilgrim in Slaughterhouse-Five, time is a construct. It’s possible to transcend it, and Alynda Segarra does.

Nothing / Full Of Hell – “Like Stars In The Firmament”

Blackgaze, the amalgam of black metal and shoegaze, has become a definitive trend of the 2020s. Albums like Deafheaven’s Infinite Granite and Holy Fawn’s Dimensional Bleed are just two examples of the ways black metal’s grim menace and shoegaze’s gossamer weightlessness collide. But rarely have two artists come together to bring the best elements of their disparate styles. Full of Hell and Nothing pull it off on their forthcoming joint LP, When No Birds Sang. On the slowcore ballad “Like Stars In The Firmament,” ringing guitars blanket Dominic Palermo’s airy vocals; Full of Hell, backing him, sounds uncharacteristically serene. This is a project that unearths new sides of both artists. For two bands that often embrace sheer, heavy volume, gorgeous moments like these are almost more jarring than an onslaught of noise would be.

Fabiana Palladino – “I Care”

Drawing inspiration from classic Motown duets, Fabiana Palladino’s latest collaboration with the elusive producer Jai Paul refurbishes the template with a modern sheen. Its steady pulse grounds the track while lush, ping-ponging synths and electronic auxiliary percussion weave in and around Palladino’s disarming vocals. As the lead single for her upcoming album, it’s a marvelous introduction.

Phony – Heater

Naming your album Heater is a bold move. Fortunately, Neil Berthier, who makes jangly, emo-tinged guitar-pop under the moniker Phony, delivers on the premise. His fourth Phony album is packed with heat; from the searing opener “Caroline” to the blistering pace of “Card In A Spoke,” the Joyce Manor touring guitarist never lets up on the momentum. Heater is full-throttle from start to finish.

John Francis Flynn – Look Over The Wall, See The Sky

John Francis Flynn’s music is steeped in tradition. The Irish artist repurposes classic, traditional folk songs by updating them with a singular vision. Flynn’s new album, Look Over the Wall, See the Sky, might not technically be new, given its retreading of foundational ground. But it’s nonetheless affecting, as evidenced by his renditions of songs like “Kitty,” “Dirty Old Town,” and “Mole in the Ground.” It’s a wondrous tribute to national lineage that underscores Flynn’s penchant for striking arrangements.

Hovvdy – “Jean”

Will Taylor and Charlie Martin make arresting indie-folk that beautifully captures their stalwart friendship. Fittingly, their latest single, “Jean,” is “a song about doing well for those you love,” as Taylor explains in a press statement. “Jean,” like last year’s EP, Billboard For My Feelings, and 2021’s LP, True Love, is a microcosm of everything that’s great about this duo: earnest lyrics, transfixing instrumentation, and candid craftsmanship. Dudes rock.

String Machine – Turn Off Anything On Again

Last year’s Hallelujah Hell Yeah, the third album from Pittsburgh indie septet String Machine, revived the baroque, ornamental sounds of early-aughts bands like The New Pornographers and The Decemberists. Their surprise EP, Turn Off Anything On Again, takes a slightly different approach. They recorded the EP’s three songs in a barn that frontman David Beck’s late grandfather owned, located among the verdant scenery of Allegheny National Forest. Surrounded by cowboy paraphernalia and “dozens of saddles in the rafters,” as their Bandcamp page says, String Machine lace their new tracks with alt-country twang. On “Misfire” and “I See You The Same,” drawling guitars sit side-by-side with glimmering synths. Across Turn Off Anything On Again‘s brief runtime, String Machine create an idyll that you’ll want to stay in long after the music stops.

Sleater-Kinney — “Say It Like You Mean It”

Last month, Olympia’s Corin Tucker and Carrie Brownstein announced Little Rope, their new album coming out this January. Following up on its scorching lead single, “Hell,” the duo have shared “Say It Like You Mean It,” a slightly calmer, bouncier number that details the end of a relationship. “Say it like you mean it / I need to hear it before you go,” Tucker sings, desperation present in every word.

Hurray For The Riff Raff is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

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Did Marvel Change The ‘Loki’ Season 2 Finale To Work Around The Jonathan Majors Issue?

Post author By GoneTrending
Post date November 14, 2023

Jonathan Majors Loki Season 2 Finale — Marvel

Marvel already had a sizable PR problem heading into Loki Season 2 with the Jonathan Majors mess going on. The actor made his MCU debut in the first season of Loki before fully emerging as the next Thanos-level threat in Ant-Man and the Wasp: Quantumania. However, shortly after that film’s release, Majors was arrested on domestic violence charges and is awaiting trial later this month.

Unfortunately for Marvel, Majors’ arrest happened after filming had already wrapped for Loki Season 2, and early reviews for the first four episodes couldn’t help but note the awkwardness of his presence. That issue was compounded when a Variety report on the behind-the-scenes panic at Marvel contained an eyebrow-raising quote about the Season 2 finale.

“Marvel is truly f*cked with the whole Kang angle,” a source told Variety about the finale, which the trade publication claimed would further position Majors as the MCU’s next big threat. “They haven’t had an opportunity to rewrite until very recently [because of the WGA strike]. But I don’t see a path to how they move forward with him.”

But then something interesting happened. The Loki Season 2 finale arrived without positioning Majors as the next major MCU villain. In fact, the episode actually made it easer to just forget about the Kang variants altogether. There’s a literally a line from Owen Wilson’s Mobius that minimizes the events of Quantumania because the heroes on that timeline “handled it.”

Some sort of tinkering could have taken place, but Loki executive producer Kevin Wright denies that’s the case. In an interview with TVLine, Wright says that the episode was not altered. “The story that is on screen is the one that we set out to make,” he said.

So what happened? Well, according to Wright, Variety did not have all its facts straight. “That report was crazy. I’ll just say that,” Wright said. “That just shows you, I don’t know what people are talking about.”

Wright further denied editing the Season 2 finale to address the Majors situation, and he also said there were never plans for a post-credits scene because it would take away from the epic impact of Loki claiming his throne.

“We never really had any consideration for the larger Marvel universe, and that is why these two seasons were good,” Wright said. “We built our own corner of the sandbox, we told our own story. People got excited about that and went, ‘Oh, Kang!’ and started building on top of that. But to us, we were the keepers of nearly 12 hours of that storytelling, and we wanted that to come to a close.”

Loki is available for streaming on Disney+.

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The Zaniest Live Album By Bob Dylan (Or Anybody) Finally Gets Its Due

Post author By GoneTrending
Post date November 14, 2023

Before we consider the frankly stunning existence of The Complete Budokan 1978 — a new box set compiling the two concerts that formed the basis of the notorious 1979 double-live album Bob Dylan At Budokan — let’s go back to a distant, unknowable time in which the internet does not yet exist. (Not for the average person anyway.) In this quaint era, a young person seeking to learn musical history cannot simply log on, go to Wikipedia, and then park at a streaming platform. “Back then,” as it were, your education had to begin inside of a building called “a library” that housed thousands of things called “books.”

On one such journey taken when I was a teenager, I came across a book published in 1991 called The Worst Rock ‘n’ Roll Records Of All Time. Now, I must provide some context to explain why this book blew my mind. In the past, unlike today, it was relatively difficult to find a person writing about something they found to be terrible. Haterism just wasn’t a fixture of public discourse as it is in modern times. It wasn’t nonexistent, exactly, but writing a book about your own personal dislikes was considered to be a perverse waste of time, if not irredeemably dickish. Which is precisely why the existence of a book like The Worst Rock ‘n’ Roll Records Of All Time seemed so refreshing to my young brain. Here, finally, was some unvarnished truth.

Looking at the book now, some choices are odd or just plain wrong, either because they pre-date contemporary critical revisionism (the Grateful Dead’s Europe ’72 or Queen II) or because they are mean-spirited in a very 1991 kind of way (ranking Paul McCartney and Duran Duran among “the worst rock ‘n’ rollers of all time”). But this book influenced how I thought about the canon in my youth in ways I couldn’t begin to understand at the time, starting with an album I avoided for years because music critics kept telling me how horrible it was.

This brings us back to Bob Dylan At Budokan.

Originally released on August 21, 1978 as a Japan-only release, and then worldwide the following April, Bob Dylan At Budokan was recorded at Tokyo’s Nippon Budokan Hall on February 28 and March 1 of ’78. It contains 22 songs, including many of Dylan’s most famous tunes: “Like A Rolling Stone,” “Blowin’ In The Wind,” “The Times They Are A-Changin,’” “All Along The Watchtower,” “Knockin’ On Heaven’s Door,” etc. Judging by the tracklist, Bob Dylan At Budokan appears to be a greatest hits record, except that the songs are played live. But while the album is that in form, it is not in execution a straight-forward recounting of past glories. It is the opposite of straightforward. It is crooked and backward. For At Budokan, Dylan employed an expansive 11-piece band staffed with, among other musicians, three backup singers, an extremely audible percussionist, an ex-King Crimson drummer, Eddie Money’s keyboardist, a blonde guitarist who performed in the Broadway production of Hair, and (most notoriously) a horn player doing double duty on saxophone and flute. That’s right, flute. “But what Dylan songs require a flute?” you ask. On At Budokan, way more than you might expect!

Dylan dramatically rearranged his most famous warhorses, sometimes beyond the point of recognition. The early-’60s kiss-off “Don’t Think Twice, It’s All Right” adopted a reggae shuffle. The quotably jagged “It’s Alright, Ma (I’m Only Bleeding)” now sounded like Rick Derringer’s “Rock and Roll, Hoochie Koo.” The aforementioned flute woven into “Mr. Tambourine Man” gave one of Dylan’s most poetic numbers an unusual Ren-Faire vibe. It was all very different. And all very weird. And for the boomers raised on Dylan’s stark and roughhewn ’60s period — especially the authors of The Worst Rock ‘n’ Roll Records Of All Time — it was too much. They called At Budokan the work of a “man at the end of his rope with no redemption available or conceivable.” They called the arrangements “random,” “indiscriminate,” and “stupefying.” They echoed a common complaint that the album made him sound like a “prospective Las Vegas act.” Most damning of all, they accused Bob Dylan of “full-blown misanthropy directed at his audience.”

The takes on At Budokan hardly improved when I looked it up in other music books. In The New Rolling Stone Record Guide — the one with the blue cover, second edition, copyright 1983 — it was scored with this strange little black box, a sub-star rating reserved for “worthless” records that “need never (or should never) have been created.” (The blurb by Dave Marsh is somehow even more cutting: “This is his worst record by such a wide margin it’s hard to fathom it.”) Over at one of the editions of Robert Christgau’s Consumer Guide, the tone was lighter but still dismissive: “I believe this double LP was made available so our hero could boast of being outclassed by Cheap Trick, who had the self-control to release but a single disc from this location.” (The Cheap Trick slander was not appreciated by me, then or now.)

The consensus couldn’t have been more clear: Bob Dylan At Budokan is garbage. The bottom of the barrel. An abomination. And yet, here we are, with a beautifully designed box set commemorating a Bob Dylan album allegedly so turgid that critics in the late 20th century couldn’t comprehend it. In the liner notes for The Complete Budokan 1978, veteran music writer Edna Gunderson argues that Bob Dylan At Budokan is “a late bloomer” and “a crucial turning point” in his career. But the very fact that this box set exists at all is the most violent rebuke to the album’s many detractors. In case anyone needed to be reminded: The Complete Budokan 1978 is yet more evidence that the canon is always in flux. And that today’s trash might very well be tomorrow’s $159.99 retail-priced doorstop.

Let me say for the record that I agree with Edna Gunderson. I am a fan of Bob Dylan At Budokan, and I believe the album is a crucial turning point for the man. The facts of Dylan’s life in 1978 clearly bear this out — he was newly divorced, he was ailing financially after the failure of his directorial debut Renaldo And Clara, and he was inclined to play 114 shows in order to make himself whole again. By the end of the year, he would be on the verge of becoming a born-again Christian. If there is a better example of a guy “going through some things,” I have not yet discovered it.

Moreover Bob Dylan turned 37 that year, an old man by the rock-star standards of 1978. And it was not outrageous to believe that he might be washed up. His previous two tours – with The Band in 1974 and the legendary “Rolling Thunder” campaigns of ’75 and ’76 — both harked back to the previous decade. With The Band it was the “Thin Wild Mercury” sound of the mid-’60s, whereas Rolling Thunder was a conscious attempt to revive the spirit of the early ’60s Greenwich Village folk scene. For the ’78 tour, a precondition of his 11 shows in Tokyo and Osaka — Dylan’s first ever gigs in Japan — was that the promoter insisted on essentially writing the setlist, ensuring the inclusion of Dylan’s most recognizable oldies. Dylan, perhaps desperate for cash, consented to this intrusion, though with an inevitable Dylanesque twist. This set up the central paradox of Bob Dylan At Bukokan: It’s his most obvious material, presented in the least obvious (and bonkers) fashion.

Only it doesn’t sound quite as bonkers in 2023 as it did to American critics in 1979. What the album’s original audience didn’t know is what informs how audiences today perceive At Budokan, which is this: Bob Dylan does crazy things to his songs. That’s what he does. It’s his brand. Hearing a new arrangement of a Dylan tune you know by heart is a feature of his live shows, not a bug. What’s strange now is Bob Dylan ever playing anything exactly as expected. But that only became the rule after At Budokan. In the ’60s and ’70s, he might play an acoustic song with an electric band, or he might accelerate the song’s pacing or slow it down. But he never revamped his material as dramatically as he does on At Budokan. It’s fair to say that no major artist of Dylan’s generation ever changed their greatest hits to the degree that Dylan does on this album. Nor did they do it with as much flute. So much flute!

Releasing this album was a disorienting action, and fans and critics naturally responded by being disoriented. Now, it’s easy to look back and chide those people for not getting it. But getting At Budokan is a luxury reserved for those of us who did not experience Bob Dylan’s initial run of albums in real time. Like so much Dylan music released after 1978, At Budokan only starts to make sense with the benefit of decades worth of hindsight.

There is also the matter of At Budokan appealing to younger audience precisely because it was initially disregarded. This is a phenomenon that’s bigger than Bob Dylan. To name one of many examples: The ’90s slowcore band Duster currently commands more listeners on Spotify than many other indie acts of the era who at the time were more famous and critically acclaimed. For someone who listened to indie rock in the ’90s, this is bound to be confounding. But it is nevertheless true that based on the criteria of monthly Spotify listeners, Duster is more popular right now than My Bloody Valentine, Pavement, and Built To Spill combined. There are many reasons for this — some related to changes in technology, others to shifts in taste — but this is what I suspect is true: Sometimes younger audiences want to hear older music that hasn’t already been praised to death. Even if it means listening to an album they have been told time and again is a trainwreck. Because even if music resides in a bygone era, it can still be claimed as “new” by audiences who weren’t born when the music was literally new if it was ignored or maligned by their parents (or grandparents).

But what about the music? Is the music on Bob Dylan At Budokan “actually” good, or just “contrarian” good? Again, I’m an At Budokan fan, so I say former. Though I would never argue that it’s a flawless album. Some of the arrangements really are “stupefying,” to quote The Worst Rock ‘n’ Roll Records Of All Time. I refer to the ascending/descending horn riff applied to “Maggie’s Farm,” which has been proven to induce severe mania inside my cranium if I don’t immediately skip it. And then there is Bob’s uncharacteristically chatty stage patter, which is fascinating (because it’s coming from Bob Dylan) if also occasionally awkward (because it’s coming from Bob Dylan). The bit before “The Times They Are A-Changin’” when Bob says his iconic (if slightly hoary) protest song “still means a lot to me, [and] I know it means a lot to you, too” is frequently cited by critics as the album’s cringiest moment, though I’m not convinced that it’s insincere. (Also, as a fall ’78 truther, I feel that At Budokan is diminished somewhat once you hear Dylan bootlegs from later in the tour, when the band was more locked in.)

Other than that … I dig the flute on “Mr. Tamborine Man”! And I really dig the flute on “Love Minus Zero/No Limit,” and might even argue (after a few or several beers) that it’s the best-ever version of the song. I even like the unusual vocal arrangement given to “Shelter From The Storm,” which takes the song out of Blood On The Tracks and inserts it into Aloha From Hawaii Via Satellite territory. If you don’t agree, The Complete Budokan 1978 won’t change your mind. As the title implies, this box set gives you significantly more Budokan. Of the 36 unreleased tracks, the majority are repeats of songs on the album that will be nominally different to most ears. However, the handful of new numbers do indicate how different At Budokan might have been had they been included. There are the rousing blues numbers “Repossession Blues” and “Love Her With A Feeling,” which point to the incongruously blues-heavy rehearsals Dylan staged before the tour. There are heartfelt laments like “I Threw It All Away,” “Tomorrow Is A Long Time,” and “The Man In Me” performed with palpable pathos that surely reflected Dylan’s state of mind. There’s an enjoyably bouncy “All I Really Want To Do,” which sounds like Dylan playacting as the Monkees doing Dylan. And, best of all, there are two jaw-droppingly beautiful renditions of “Girl From The North Country,” with Dylan backed only by electric guitar and Alan Pasqua’s ethereal organ. That the mania-inducing “Maggie Farm” made the original Budokan and not one these “Girl From The North Country” performances is truly inexplicable.

After Bob Dylan At Budokan polarized so many listeners, Dylan claimed that he never intended the album to be the defining representation of this tour. (It was only released America after the Japanese import became a hot seller.) Not even he would claim ownership of his zaniest live record. But in its own bizarre, idiosyncratic way, Bob Dylan At Budokan represents Bob Dylan as well as any record he ever put out. The listeners who were most outraged by this album in the late ’70s, at heart, felt that Bob Dylan was not treating his songs with the same seriousness with which they had invested in his work. They imagined that Bob Dylan was laughing at them for ever caring about Bob Dylan. But for the audiences who came along later, Dylan’s irreverence remains one of his most endearing qualities. It’s what keeps his work vital and constantly evolving. Even when you tell him what to play, he won’t it play the way you think you want. And, then 45 years later, you realize he was right about the flute after all.

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Silkie chicken loves being swaddled like a baby so much that she starts to ‘purr’

Post author By GoneTrending
Post date November 14, 2023

Did you know that chickens purr? Well, maybe not all chickens but this silkie chicken is certainly trying to give cats a little competition on the most adorable imitation of a car motor. Usually when people think of a chicken they think one of three things, dinner, eggs or they envision an actual chicken that’s running around in an outside pen seemingly confused with life.

Chickens typically serve some sort of purpose for their owners, even if it’s just to prevent them from weekly trips to the grocery store for eggs. But some chickens are simply there to be pets and sometimes entertainment. Have you ever seen a chicken wear clothes? Well, they make them.

And since people have taken to having chickens hang out as pets, they behave like pets. Jen Hamilton has a silkie chicken named, Grits, who loves nothing more than taking a bath and being swaddled like an infant.

Recently the nurse re-uploaded a video to her social media of Grits after her bath, explaining how much the silkie loves to be swaddled as she dries.

“I had to give Grits a bath, but did you know that she loves to be swaddled,” Hamilton says. “So, context. Chickens purr when they’re happy. So, watch this.”

The labor and deliver nurse then demonstrates how she swaddles Grits with a minor mishap in the middle of her execution of the perfect chicken swaddle. As Hamilton was swooping a piece of the towel around, Grits quickly face planted with a tiny little “thud.” Don’t worry though, her mom’s an actual nurse. No silkie chickens were harmed in the process of making the video, Hamilton quickly sat Grits upright again and continued the mission of the perfect chicken swaddle. People couldn’t get enough of Grits’ little tumble or her interesting happy chicken purr.

“I LOST IT WHEN SHE FELL & the ‘Whoops’ was so calm and collected,” someone writes with two rolling on the floor laughing emojis.

“I will never not laugh hysterically at the *thud* ‘whoops…sorry,'” a commenter says.

“She sounds like a printer from the ’80s when she purrs and I love it,” another person writes.

Get to know Grits and her happy chicken noises in the video below. You won’t regret it, promise.

@_jen_hamilton_

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PinkPantheress Is Showing Fans That She’s ‘Capable Of Love’ By Announcing A North American 2024 Tour

Post author By GoneTrending
Post date November 14, 2023

It’s only been a few days since PinkPantheress dropped her debut album, Heaven Knows. Now, she is treating fans to another surprise, by announcing that she’ll be heading to North America next April on her Capable Of Love Tour.

Bktherula and Kanii will be joining her as support on select dates. Later in 2024, PinkPantheress will then be opening for Olivia Rodrigo on the Guts Tour — giving fans extra chances to see her perform.

Tickets for the tour’s general sale open up this Friday, November 17 at 10 a.m. local time. More information can be found here.

“This album is an accumulation of music I’ve made over the last two years, with some beloved tunes that might sound familiar and some cutie features who I can’t wait to announce,” PinkPantheress said.

Continue scrolling for PinkPantheress’ new Capable Of Love Tour dates.

04/06/24 — Detroit, MI @ Saint Andrew’s Hall
04/07/24 — Toronto, ON @ The Danforth Music Hall
04/10/24 — Montreal, QC @ Théâtre Beanfield
04/12/24 — Boston, MA @ Royale
04/14/24 — New York, NY @ Brooklyn Paramount
04/17/24 — Chicago, IL @ Metro
04/20/24 — Nashville, TN @ Brooklyn Bowl Nashville
04/22/24 — Dallas, TX @ House of Blues Dallas
04/24/24 — Houston, TX @ White Oak Music Hall
04/25/24 — Austin, TX @ Emo’s Austin
04/28/24 — San Diego, CA @ The Observatory North Park
04/30/24 — Los Angeles, CA @ Hollywood Palladium

Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.

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Silkie chicken loves being swaddled like a baby so much that she starts to ‘purr’

Post author By GoneTrending
Post date November 14, 2023

Recently the nurse re-uploaded a video to her social media of Grits after her bath, explaining how much the silkie loves to be swaddled as she dries.

“I had to give Grits a bath, but did you know that she loves to be swaddled,” Hamilton says. “So, context. Chickens purr when they’re happy. So, watch this.”

“I LOST IT WHEN SHE FELL & the ‘Whoops’ was so calm and collected,” someone writes with two rolling on the floor laughing emojis.

“I will never not laugh hysterically at the *thud* ‘whoops…sorry,'” a commenter says.

“She sounds like a printer from the ’80s when she purrs and I love it,” another person writes.

Get to know Grits and her happy chicken noises in the video below. You won’t regret it, promise.

@_jen_hamilton_

Friday, March 15

Saturday, March 16

Sunday, March 17

Vyva Melinkolya – Unbecoming

Yo La Tengo – The Bunker Sessions

Hurray For The Riff Raff – “Alibi”

Nothing / Full Of Hell – “Like Stars In The Firmament”

Fabiana Palladino – “I Care”

Phony – Heater

John Francis Flynn – Look Over The Wall, See The Sky

Hovvdy – “Jean”

String Machine – Turn Off Anything On Again

Sleater-Kinney — “Say It Like You Mean It”