#wigwam band

[ihmekukkavesi]

Wigwam Revisited feat. Jukka Gustavson @ G Livelab, Tampere

19/11/2023

[hammill-goes-fogwalking]

@burn-on-the-flame wooow omg the Wigwam dude was an actor?! Is it possible to see the film?? 👀

Ronnie Österberg as Lasse in Grottan (1970)

[dessa-banks]

If I had a nickel for every Welsh-language rock band whose first officially-released single was called Mynd a Dod, I'd have two nickels

[randomvarious]

Today's compilation:

You're Soaking in It! 1988 Indie Rock / Alternative Rock / College Rock / Jazz / Rockabilly

Continuing to explore this whole forgotten realm of ephemeral alt-indie-underground rock stuff from the late 80s and early 90s, with this little dispatch from New Jersey's APEX Records that was largely a showcase of Philly bands who are all long gone now. And with names like 7 Dancing Etruscan Slaves of the 4th Dimension and The Things That Creeped-N-Crawled Right Out-O-the Ground—whose lead singer is The Woman With the Most Scaryest Name (Too Scary to Print)—that should give you an idea of just what to expect from a release like this one: silly, fun, and quirky music that's really not to be taken all too seriously.

Now, I love lighthearted tunes that can be all things dumb, ironic, and self-aware, but, unfortunately, I don't have any highlights to post from this particular record here. And usually when that happens, that means that the record is bad, but actually, this isn't a bad record at all. There are a bunch of songs on this LP that, in fact, happen to be pretty good; but "pretty good" doesn't end up cutting it in order to achieve that coveted "highlight" status! 😅

So, while Ornamental Wigwam's shallowly inquisitive "Song No. 15" makes me laugh out loud, with purposely clunky lines like, "if there were no more residential districts, where would we go to bed?" and Nixon's Head plays with this satisfyingly catchy and lively, light rockabilly tinge on "Dollars and Sense," and a band called Wack Mags deliver a mix of irreverence and 70s Detroit on their only ever released song, "Baby, Baby, Baby," I just can't bring myself to lie to you all and tell you that any of these songs are excellent 😔.

But I'm also not gonna end up leaving you empty-handed here today, either; if you want some awesome Philly fare, there are some great tunes on this YouTube-only 90s Indie Rock playlist that I put together a few years ago. Terrific offerings from bands like Transient Waves, Photon Band, Lenola, and The Asteroid No. 4. None of it's intentionally wacky, like what's on this late 80s record, but it sure feels like some of the best of what indie Philly had to offer at the time 😊.

Also on YouTube Music.

No highlights.

[hammill-goes-fogwalking]

I love the fact that youre interested in Skandinavian music!! - but please, as a Finn, Finland is not a part of Skandinavia 🙏 i get that people just group us with Skandis but we are not part of them!! Maybe just say "nordics/nordic countries", that’s always correct! :) also - which finnish prog band are you interested in?? I love that youre into our music 💙

thank you, I'd probably never notice the mistake XD honestly I never heard anyone who said it's not a part, anyways I'm gonna change it on my last post

also it's so cool to meet you!!!!

I thank my father, a literal geography guru, for my silly little interest- he's a huge fan of Finnish tango 😌

I'm fascinated of your language, yes I tried to at least learn some simple vocabs but it's impossible

^ they're like the ideal band imo, the songs are EXTREMELY GOOD and this one is my favourite, although I'm really sad that they don't sing in their native language (I would prefer Finnish honestly, the language sounds stunning in songs -UNLIKE GERMAN)

they're connected with a 60s soul/jazzy kinda band called Soulset

//

two prog/jazz fusion epics, isn't it amazing 😭 I love Nordic experimental music, they were innovative, had a fresh sound, the musicians' instruments sound just fine as hell 👌🏻🛐 I have a weakness for saxophones in prog

I think they're one of the obscure Finnish groups

it's now a year ago since I discovered Wigwam, which is probably the most popular Finnish jazz fusion kinda group?

in my bio is a link to my Spotify acc, there I created a playlist for favourite songs of your country...

thanks, again 🤍💙

[thespacecowboyyy]

Ronnie Österberg

[born-to-lose]

Fucking Wigwam

[twinkandwink]

Creatures - The Crofters Rights, Bristol 31st Jan 2019

[dreaminginthedeepsouth]

A tipi (tee-pee), is a tent, traditionally made of animal skins upon wooden poles. Modern tipis usually have a canvas covering. A tipi is distinguished from other conical tents by the smoke flaps at the top of the structure. Historically, the tipi has been used by Indigenous peoples of the Plains in the Great Plains and Canadian Prairies of North America, notably the seven sub-tribes of the Dakota, among the Iowa people, the Otoe and Pawnee, and among the Blackfeet, Crow, Assiniboines, and Plains Cree. They are also traditional on the other side of the Rocky Mountains by tribes such as the Yakama and the Cayuse. They are still in use in many of these communities, though now primarily for ceremonial purposes rather than daily living. While Native American tribes and First Nation band governments from other regions have used other types of dwellings (pueblos, wigwams, and longhouses), tipis are often stereotypically and incorrectly associated with ALL Native Americans in the United States and Aboriginal Canadians. The tipi is durable, provides warmth and comfort in winter, is cool in the heat of summer, and is dry during heavy rains. Tipis can be disassembled and packed away quickly when people need to relocate and can be reconstructed quickly upon settling in a new area. Historically, this portability was important to Plains Indians with their at-times nomadic lifestyle. Oglala Lakota tipi, 1891 

[Native Americans]

[ihmekukkavesi]

Wigwam Revisited feat. Jukka Gustavson @ G Livelab, Tampere

17/11/2023

[violasmirabiles]

Ronnie Österberg as Lasse in Grottan (1970)

[lonelyasawhisper]

Queen: Britain's Biggest Unknowns

Martin Hayman, Sounds, 5 January 1974

QUEEN ARE being hailed as the natural successors to Led Zeppelin on the other side of the Atlantic. This may cause an outburst of derisive laughter, hoots, boos, jeers and catcalls from those who think Zep are the cat's whiskers. But most of the people who have seen Queen agree that they are pretty hot.

They have been touring with Mott the Hoople and make a good showing on what is now a pretty tough assignment, opening the show for Mott: They write and play punchy songs, they are loud and aggressive to the right degree, they look good and move well on stage, especially their singer Freddie Mercury, who besides strutting and prancing has an excellent, sharp-edged voice with a lot of power.

It makes one wonder why the New York Dolls were so lavishly feted on their derisory couple of British gigs. I reckon that a British provincial audience would have pulled the Dolls apart in a jiffy; Queen handle them well, and they were getting encores on their set.

And the public are giving them the thumbs up too, which is reflected in steady sales of their debut album — standing now at 15,000 in Britain and a quite incredible 85,000 in the States, where it has crept into the lower reaches of the album charts. Not bad when you think how comparatively unknown they are even here. Evidently not as unknown as we imagine. You might say they were Britain's biggest unknowns.

I went to Trident Studios on a rainy night before Christmas to find the band hard at work trying to complete their second album before the inevitable cutbacks in production at EMI slowed up their progress. For at this point Queen are at a crucial stage of their career — just before the break, as they say in the business. If they are to maintain the initial impetus it is essential that they get out another album — and preferably a single too — and then get a support gig with a big British act in America.

Business-wise Queen seem to be quite well set. They are signed to Trident Audio Productions, the production and management arm of the studios. Queen are TAP's first signing and this is likely to give the group considerable leverage with EMI. They are no newcomers to the music scene though it's only in the last year that they have turned to music full time. Bassist John Deacon and drummer Roger Taylor had been in a semi-professional group called Smile for a year or two while at college, but it was not until singer Freddie Mercury's arrival that they named themselves Queen. Wisely they all decided to finish their respective courses before going professional.

John, originally from Leicester, had been at the Chelsea College of Arts and Technology; Roger, up from Cornwall after leaving dental college, joined up with Freddie to run a stall in the Kensington Market; Brian May the guitarist took a degree in Physics and went on to do a Ph.D. in, believe it or not, infra-red astronomy; and Freddie they just describe as a "Kensington poseur".

I talked to John and Roger in Trident's re-mix room as they played through such rough mixes as they had finished. The sound was still a bit raw and ragged, but there was no mistaking the originality of the songs and the thrusting energy of the playing, the kind of buzz you only get from a new band whose creativity has not yet peaked. First song up was 'Fairy Feller's Masterstroke', so titled after a painting by the Victorian Richard Dadd (it hangs in the Tate Gallery). "Freddie just wrote a song using all the characters in the painting — it's fairly incomprehensible," commented Roger. Next up were 'Loser In The End' and the atmospheric 'Ogre Battle', with bumping and grinding effects. Freddie (the one with the Bugs Bunny mush and the wigwam of dark hair) is the principal writer, followed closely by Brian, although Roger occasionally turns in a song.

The band were complimentary about the way their first album had been handled by the American record company Elektra, who had used the orginal cover art-work supplied by the group, which EMI here had not done. They also complained that the record had gone out of stock for six weeks in this country, which could have done them a lot of damage if they were not pushing hard.

It's to avoid such complications that they are working so hard on the album, to give plenty of margin for other people's errors. They have their heads screwed on, these fellers, following the business manoeuvres with an interested eye, and Roger was able to give me a sort of market breakdown of Queen's global trading position — they are especially strong, it appears, in Germany and Sweden as well as the US.

But closer to home, they feel that they acquitted themselves fairly well on the recent Mott tour, despite an outdated PA — actually David Bowie's old Ground Control. "It was the first time we'd done gig after gig, night after night," says John, "but we were really pleased with some places — Newcastle and Glasgow and, strangely enough, Bournemouth, seemed to know about us."

Continued Roger: "I've been with the band two and a half years and I'm the newest member. Queen was Freddie's idea really, about three years back. We'd like to make it everywhere, but we are placing a lot of emphasis on America, but we don't want to go out there too soon and blow it. For example we've been giving a lot of thought to getting in a keyboard. We may get another guy in. It would thicken the sound up. It's a bit limited with only three instruments on stage, but we don't really want to make it a five-piece. We're going to do a tour of concerts before we go to the States. That'll probably be in April. It's got to improve a lot yet, the stage sound has to be good every night."

Retrieved from rocksbackpages.com

[hammill-goes-fogwalking]

an intro-post (because I've never had one) 🌿🪐

//

ꕤ I'm Sarah, your local multifandom geek

ꕤ she/her

ꕤ Germany

ꕤ fluent in German, English, Polish

ꕤ I love Nordic countries

ꕤ tumblr's only John Lawton freak

ꕤ ask me anything about Van der Graaf Generator & Peter Hammill 🛐

ꕤ still your old Deep Purple blogger 💜

//

special interests: obscure & international music, history, cultures & geography

prog rock, hard rock & world music mean everything to me

bands hyperfixations:

(2020:) The Beatles, Paul McCartney.

(2021:) Wings, Buddy Holly, Queen, The Who, etc.

(2022:) The Doors, Deep Purple, Cream/Jack Bruce, Led Zeppelin, Small Faces, etc.

(2023:) Ian Gillan Band, Gillan, Rory Gallagher, VdGG/Peter Hammill, Yes, ELP, T.Rex, Genesis/Peter Gabriel, etc.

(2024:) Maustetytöt, Tasavallan Presidentti, Wigwam, Kirka, Eppu Normaali etc etc...

//

personal things:

ꕤ I work in a history museum

ꕤ 40% German, 30% Polish, rest is some international mess

ꕤ introvert, neurodivergent

ꕤ I love my mutuals

ꕤ I say the most random stuff sometimes, be warned

Links:

history sideblog

meme/random sideblog

Spotify

Last.fm (I nearly never use this)

Pinterest

Reddit

[dailyniallnews]

Niall Horan: Live at The Royal Albert Hall

While some may argue that too few artists have done their bit to raise awareness for the people of the music industry who since March 2020 have been forced to stop practicing their profession, one artist who has stepped up to the plate is singer-songwriter and former One Direction star, Niall Horan. Joining forces with the crew-led organisation, We Need Crew, on 7 November 2020, the singer welcomed fans from around the globe to bear witness to a one-off performance from the eerily empty Royal Albert Hall, with all profits going to his touring family and technical entertainment charity, Backup.

In the lead up to the livestream, Horan could be found on almost every television network, promoting the show and explaining why the performance required the attention of all music lovers. In his own words: “I’m putting on this gig to raise awareness of the immense value they bring to an industry enjoyed by so many and do something to help them and their families. I ask all my fans to support them with me and buy a ticket if you can, and I encourage all artists to do the same.”

With several weeks passing since both artist and crew took over the RAH, TPi caught up with the crew behind the project and to get their thoughts on this very special event.

PRODUCTION ORIGINS…

“I remember it was a Monday morning when I got the call from Karen [Ringland] and Alice [Martin], who explained the concept of We Need Crew,” reminisced Ant Carr, Head of Production for Modest! Management. Both founders of We Need Crew explained to Carr that the goal of We Need Crew is, in association with #WeMakeEvents, to raise money for touring professionals who have fallen on hard times due to the COVID-19 pandemic.

“What really appealed about their organisation was that it was created by crew, for crew,” Carr said. “Around the same time, I was having conversations with Niall, who had already seen a few peers doing livestream performances, and we discussed the idea of performing in an iconic venue to raise awareness for the plight of the industry.”

With these two conversions in mind, Carr began to pull the pieces of would become Horan’s streamed performance together, as well as a big launch for the We Need Crew campaign. Carr and the rest of the Modest! team got to work reforming his touring family, whose album cycle had been stopped prematurely in March 2020.

“We were in LA when everything began shutting down,” stated Carr, who explained how he and the rest of the crew were in their last few weeks of promo before heading into rehearsals for Horan’s world tour. “We were finishing up a week on James Corden when the announcement came that the borders were due to be shut, so we all had to head back to the UK pretty quickly.”

After several months with no work, both Carr and the rest of the crew were all enthusiastic about getting back together to put on a very special performance. “In many ways, it was like we had never been away,” explained Production Manager, Andy Colby. “There was a part of me that thought it might have been a bit strange with it being so long since we worked together, but 30 minutes into the first rehearsal at SW19, it was like we had just got off the plane from LA.”

Colby was one of many familiar faces from Horan’s touring family who got the call to help with the livestream, alongside several technical suppliers including Wigwam and midnight:lights. KB Event provided a Megacube Artic for rehearsals in SW19 along with a Tech Kit for the show, oversaw by Lead Driver, Steve Crawley. Pulse Films and promoter, Driift were brought into the fold to make the event a reality.

In total, some 127,000 tickets for the performance were sold to 151 countries. “The response we had from fans was fantastic,” enthused Carr. “The funds raised are going to be able to help a good number of touring crew and their families and we kept this in the forefront of our mind in all aspects of the show.”

Carr was also quick to complement the attitude of the man in front of the camera. “Niall was very involved in every step of the process. He really gained a full grasp of the situation and during the promotion of the show, he really wanted to educate the public, and his fanbase, about what was going on in the sector.”

SETTING THE STAGE…

A few weeks from the broadcast date, a small group visited the Royal Albert Hall to make a start on planning how the show would come together. Lighting and Show Designer, Emma Bull and Director, Paul Dugdale led the creative vision. The livestream began with Horan performing a song on the piano on the venue’s stage, before walking down to the centre of the room to play the rest of the show in 360° in the centre of the hall. A top priority for the visual team was putting both Niall and the venue in the spotlight.

Bull elaborated: “Although several dance shows utilise the centre of the room, Paul’s Dugdale’s suggestion to do this for a music act felt fresh and was a strong starting point for the design,” she noted. “Having Niall and the band in the centre gave us a few options to really show off the building and take advantage of the fact the whole space was empty.”

One of her design ideas to make use of the space was to fill the empty boxes of the hall with lights. “It really ‘shined a light’ on the fact that there was nobody in the space,” she commented.

Aiding her in both the programming and running the show was Richard White of midnight:lights. “In total, we built 114 bespoke plinths for the audience boxes,” he stated. “On these sat a combination of Robe LED Beam 150s and Robe Spiiders.” The arrangement of these fixtures and boxes created a 360° backdrop of the central stage, with fixtures focussed into the room as well as back on themselves to flood the boxes.

The other key lighting elements included three Robe BMFL Robospots for keylight, which were placed in the venue’s gallery level. “We kept most of the control of these at the console with it being a 360° shoot,” stated White. “We were then able to shift the keylight/backlight across the fixtures as the camera tracked.” Around the central stage, the lighting team deployed SGM Q2s to provide some glowing footlights, along with Litepanel Gemini Softlights for Niall’s microphone position. “From the beginning, I knew I didn’t want there to be any rigging or trussing in the shot,” explained Bull. “We didn’t want anything to distract from the key elements of the shot – Niall and venue – to produce a clean look.” This is also why the visual department moved away from the idea of a backdrop and instead showed off the immensity of the famed venue.

Aiding both Bull and White in their endeavours was Lighting Programmer, Dan Young. In the lead up to the show, both Young and White spent several days in the previs suite at midnight:lights using Syncronorm Depence² to plan the show. “I have worked with both Dan and Richard several times and they have a great understanding of my aesthetic,” praised Bull. “I like things to be quite static in terms of colour palette with refined looks.” During the show, White oversaw the key lighting with Young programming all the moves. This gave Bull the freedom to act as a go-between between both the lighting and the stage to ensure the integrity of the design for the broadcast.

“The main challenge for this show was to provide consistent lighting over the different shooting styles,” mused White. “On one hand, we needed to have soft beauty lighting for close-up shots and steadycam work, but we also needed to make sure that the stage was physically as clear as possible for all the wide room shots and overhead wire-cam.” To add a level of accuracy, most of the live show was programmed to timecode because the visual team were situated outside of the room during the shoot.

LIGHTS, CAMERA, LIVESTREAM…

Jim Parsons was brought in by Pulse Films to assume the role of Producer. “By the time I got involved, the concept had already been fairly well developed by Emma Bull and Paul Dugdale,” Parsons began. “From my side, it was a case of getting all the video and visual elements and working out some of logistics of how we’d get the event to the finish line.”

Parsons has collaborated with Horan several times over the years. “The fact he came from the TV world means he has much more of a grasp than many of his peers of what goes into this style of performance and how to connect with fans through a camera,” he enthused.

Speaking a few weeks after the event took place, Parsons reflected on what he and the team achieved with the livestream. “We always knew we had an opportunity to do something different with this show,” he commented. “The end resulted was big and beautiful, but it was still ‘live’.  It had the feel of a real show and didn’t come across prescriptive or dull.”

Parsons went on to describe the collaboration between himself and Driift, having worked together several times during 2020 on shows for Kylie Minogue and Sleaford Mods. “Ric Salmon and the rest of the Driift team are the kind of broadcasters I really like collaborating with in that they just let you get on with your work,” stated Parsons plainly. “They were obviously interested in the initial conversations and in the creative, but once it was all in place, they left us to it.”

Driift CEO, Ric Salmon offered his two cents on the project. “The fact that Niall ended up selling 127,000 tickets for the event is such a huge achievement, made all the better as it was all for such an amazing cause,” he stated. Unsurprisingly, 2020 was a busy year for Driift as the company offered livestreaming solutions for several artists. “There are almost too many benefits with this format of show,” stated Salmons while discussing the progression of livestreaming solutions that have only expanded in the past few years. “As we move forward, I think you’ll find more people opting for this style of event over, say, music videos,”

Parsons described what it was like working in the RAH. “It’s a beautiful venue, but we have all seen it thousands of times and there’s no denying that making it look different is quite a challenge. So, hats have to go off to the visual team for making this livestream look so unique.”

A Luna Remote System Junior 5 Telescopic remote compact dolly on a circular track along with a Dactylcam Pro point-to-point wire camera system captured the magic of the livestream. The spanned the periphery of central stage to present virtual audiences with a 360° view.

Camera Supervisor and joint Owner of Luna Remote Systems, Dean Clish discussed what it meant to be involved in such a prestigious show. “It was an honour to be involved in Niall’s show,” he commented. “It was for such a great cause and it’s always good to be in the Royal Albert Hall – you can’t go wrong with such a beautiful location.”

He continued to discuss why the camera selection was ideal for this type of performance. “The Junior 5 and the Dactylcam Pro are perfect for this kind of shoot because of the need to socially distance and, of course, with this sort of intimate production, they are both really unobtrusive and discreet systems,” he explained. “We’ve rigged the Dactylcam in the Royal Albert Hall before. It’s a brilliant system to use in there as you can really capture the essence of the hall from a height, in flight, in a way that you can’t with static systems.”

SOUNDING OUT…

The production brought back the audio double act of FOH Engineer, Matthew Kettle and Monitor Engineer, Joe Campbell to oversee the mix for the livestream and the band on stage. Having started working with Horan on his first solo album cycle, Kettle gave an overview of his time with the artist. “I didn’t really know what to expect before I’d heard the debut record and, as I was more known for working with rock music, I wasn’t sure I’d be the right fit,” he commented. However, with Horan’s solo music citing influences including Fleetwood Mac and Bruce Springsteen, the Engineer explained how it had been a fruitful partnership over the past three years. “Niall is really quite involved with the audio production and often during rehearsals will listen to the mixes to get a feel of what is being produced.”

Having been put on a hiatus since the tour’s cancellation in March, Kettle described what it was like to pull the pieces back together for the tour. “It’s really quite a different process producing a mix for a livestream compared to a live show,” he mused. “I have always had massive respect for broadcast engineers as it is such a different craft. When you’re mixing live in a venue, if anything goes wrong, you can fix it for the next performance. However, with a broadcast, everything is under much more of a microscope and under a great deal of scrutiny. Not only that, but you only have one shot at a show.”

Kettle explained that once he and the team entered rehearsals, they soon found their rhythm. “The approach to mixing was not too dissimilar to what we had already been working on for the tour. Just like the visual department, we didn’t want the production to be too flashy, aiming to simply reflect the intimacy of the performance without too much embellishment,” he commented.

For this reason, both Kettle and Campbell virtually replicated their audio setups they had planned to use for the world tour, featuring two DiGiCo SD5 consoles for monitors and FOH, along with Shure Axient Handhelds with Sennheiser 2000 Series IEMs, d&b audiotechnik wedges and a V-Series for side fills.

The console setup was not significantly different from the touring configuration, with multiple inputs from various SD-Racks in different parts of the stage and performance areas going to the broadcast SD5, all connected by an Opticore loop and shared with Campbell’s SD5 in monitor world. “The SD5 is my favourite console in the world,” said Campbell. “I love it and, because DiGiCo products are well proven and rock solid reliable, we rarely have to include them directly in what we do.” Cambpell was initially concerned in the lead up to the show, having not touched a desk since March. “Thankfully, Wigwam had kept the desks in pristine condition – so much so that our show files were even still loaded on the desk from the tour. This saved a great deal of time in rehearsals and certainly made it easier to get back into the saddle.”

Campbell was keen to replicate the same stage setup for Niall and the band. “During the tour, although he uses IEMs, I still have a wedge and side fills just in case he wants to take out his ears to hear the crowd,” he explained. “Even though it was a livestream with no audience, I wanted the show to feel as familiar as possible for him and the band.”

Despite a relatively “meat and potatoes” band setup, Campbell had just under 100 inputs on his desk – the result of several reverb returns and an elaborate talkback system. “Each one of the band members have a talkback mic so throughout the performance they can talk to one another and me,” he noted.

Meanwhile, Kettle’s ‘FOH’ position was slightly further away, setting up in a corridor off from the main hall. “Wigwam prepared an acoustic treatment kit so I sat at the desk with several studio monitors to mix the show and then sent my audio feed to the Pulse team,” stated Kettle. “Before going into the RAH, I was concerned with how the room would react with no audience in there to dampen the sound, but from the first sound check it sounded fantastic.”

Discussing Wigwam’s involvement with the project, Tom Bush commented: “We were all extremely proud to be supplying Niall’s livestream, especially as it was addressing the We Need Crew and #WeMakeEvents funds and highlighting what goes into putting on a production with the unseen and behind-the-scenes rolls.”

Bush went on to explain the approach to this type of performance: “A slightly different thought process can be needed – the standard positions for mixing, for example. The package wasn’t too dissimilar to the one we had ready for the world tour, so we had a good starting point. A few additions and tweaks were needed to adhere to the show setup, but Matt and Joe’s attention to detail made sure the process was smooth. The need for trucks full of PA hasn’t been required yet, but soon hopefully. We currently have a few livestreams pencilled in that we’re all looking forward to.”

#WENEEDCREW…

Looking back at the slew of 2020 livestreamed performances, Niall Horan stands out among the crowd, not only for its aesthetic, but because of everything it represented – not to mention the sizeable pot of funds it raised for the live events industry.

As we enter a new year with the live events sector entrenched in the clutches of the COVID-19 pandemic, the hope is that more musicians will follow in Horan’s footsteps to shine the spotlight on hardworking crew members that are so often out of sight and mind to the average live music lover. In the meantime, more information regarding the We Need Crew initiative can be found on www.weneedcrew.co.uk

[thespacecowboyyy]

Rest in peace Pave Maijanen

[runningbear1961]

Native old indian legends

Iktomi and the ducks

Iktomi is a spider fairy. He wears brown deerskin leggins with long soft fringes on either side, and tiny beaded moccasins on his feet. His long black hair is parted in the middle and wrapped with red, red bands. Each round braid hangs over a small brown ear and falls forward over his shoulders.

He even paints his funny face with red and yellow, and draws big black rings around his eyes. He wears a deerskin jacket, with bright colored beads sewed tightly on it. Iktomi dresses like a real Dakota brave. In truth, his paint and deerskins are the best part of him—if ever dress is part of man or fairy.

Iktomi is a wily fellow. His hands are always kept in mischief. He prefers to spread a snare rather than to earn the smallest thing with honest hunting. Why! he laughs outright with wide open mouth when some simple folk are caught in a trap, sure and fast.

He never dreams another lives so bright as he. Often his own conceit leads him hard against the common sense of simpler people.

Poor Iktomi cannot help being a little imp. And so long as he is a naughty fairy, he cannot find a single friend. No one helps him when he is in trouble. No one really loves him. Those who come to admire his handsome beaded jacket and long fringed leggins soon go away sick and tired of his vain, vain words and heartless laughter.

Thus Iktomi lives alone in a cone-shaped wigwam upon the plain. One day he sat hungry within his teepee. Suddenly he rushed out, dragging after him his blanket. Quickly spreading it on the ground, he tore up dry tall grass with both his hands and tossed it fast into the blanket.

Tying all the four corners together in a knot, he threw the light bundle of grass over his shoulder.