1970s. A pioneer was Gwydion Pendderwen (1946–1982), who established an emphasis on folk music and singer-songwriter material. Another early contributor was Charlie Murphy (1953–2016), whose song "Burning Times" became popular in the early 1980s. Their style owed much to the British folk revival of the 1960s, in particular British folk rock acts like Fairport Convention and Steeleye Span. Another important element was the chant, exemplified with Zsuzsanna Budapest's "We all come from the Goddess / And to Her we shall return / Like a drop of rain / Flowing to the ocean". Chants and songs were made integral to the religious rituals of the milieu. World music gradually became a central component, partially due to concerns of inclusion. This expressed itself through drumming circles where Middle Eastern malfuf rhythms became the standard, sometimes alternated with African-based clave rhythms. Pagan recordings and performances began to feature doumbeks, tars and djembes. The mythological material has predominantly been drawn from Celtic mythology. Records from this pagan scene were sold in New Age stores and information about new music was spread through magazines like Circle Network News and Green Egg. As a legacy from the counterculture of the 1960s, neopaganism in the United States developed a close relationship with the New Age movement. A prominent example of this is the Starwood Festival, held every summer since 1981 in southwestern New York. The festival hosts musical performances, rituals and an eclectic program of workshops. Kay Gardner (1940–2002) was an adherent of Dianic Wicca and one of the founders of women's music, which emerged as the musical expression of second-wave feminism. Her works include the oratorio Ouroboros: Seasons of Life—Women's Passages. It portrays a woman's life cycle from birth to death using the symbols of the Triple Goddess and neopagan holidays. According to the musicologist Ruth A. Solie, feminist music overall had its origin in the Goddess movement, which inspired women to express their inner lives through music. Louis Thomas Hardin (1916–1999), known as Moondog, was a blind street musician, composer and poet. He remained outside of organized pagan structures, but included pagan and mythological themes in his music, dressed in a horned helmet, said he believed in the Norse gods and built an altar to Thor at his country retreat in Candor, New York. Neopagan movements in post-war Europe In Iceland, Ásatrúarfélagið's first allsherjargoði Sveinbjörn Beinteinsson (1924–1993) was known as both a writer and singer