Neopagan music is music created for or influenced by modern Paganism. Music produced in the interwar period include efforts from the Latvian Dievturība movement and the Norwegian composer Geirr Tveitt. The counterculture of the 1960s established British folk revival and world music as influences for American neopagan music. Second-wave feminism created women's music which includes influences from feminist versions of neopaganism. The United States also produced Moondog, a Norse neopagan street musician and composer. The postwar neopagan organisations Ásatrúarfélagið in Iceland and Romuva in Lithuania have been led by musicians. Several subgenres of rock music have been combined with neopaganism. Neofolk bands have featured pagan revivalists since the genre's inception, pagan rock emerged in the 1980s as a distinct genre or subgenre of gothic rock, and several heavy metal bands have associated themselves with paganism since the early 1990s. Festivals like Wave-Gotik-Treffen and Castlefest have become venues for eclectic neopagan popular music, which may contain elements of gothic rock, neo-Medieval music, folk music, electronic music, ambient music and underground music. Interwar period The Latvian neopagan movement Dievturība developed a musical life in the 1930s, focused on the instruments kokles and trīdeksnis, choir music and Latvian folk music. In a 1937 article, the movement's chief ideologue Ernests Brastiņš wrote about the religion's sermons, which included music that "should create solemn and harmonious feelings". This was initially handled by the organist, composer and conductor Valdemārs Ozoliņš (1896–1973). The other main contributors were Jānis Norvilis (1906–1994) and Artūrs Salaks (1891–1984). Norvilis created choral arrangements of folk songs for calendar celebrations. Salaks, a composer and folklorist, became the movement's musical leader in 1936. His own music was characterized by diatonic scale and drones, and combined archaic and new elements in what he dubbed "the Latvian style". In 1938, Salaks released a collection of choral songs titled Latviešu dievestīgās dziesmas ("Latvian songs of adoration"). Also in the 1930s, the Norwegian composer Geirr Tveitt (1908–1981) became affiliated with the Germanic neopaganism of the National Socialist journal Ragnarok and its publisher Hans S. Jacobsen. Jacobsen drew heavily from Jakob Wilhelm Hauer's theories and promoted the adoration of the Norse gods. This influenced Tveitt's musical compositions, notably the ballet Baldurs draumar (1938). Tveitt maintains a high status as a composer in Norway, but his affiliation with this milieu is controversial. Counterculture and second-wave feminism A self-identified pagan scene for popular music emerged in the United States in the