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A New Cave for Kari's Lair

The LairMistress's Latest Excavation

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virgofolkie

***NEWSFLASH/WARNING: This journal now includes fanfiction and RPS (real-person slash) fiction pieces that are f-locked, and available only to LJ users friended by this journal. These stories are rated between PG and NC-17, and include graphic descriptions of sexual and other adult situations, including consensual same-sex/homosexual activity. All such depictions involve only consenting adult characters over 18; the real-person fiction pieces include depictions of actual living adult persons over 18. These friends-only fiction pieces are intended for adult viewing only; the rest of the journal is open for public viewing. I will attempt to friend only adult LJ users henceforth, and to discourage persons under the legal age in their countries from requesting friending, or friending this LJ themselves. Thanks to everyone for their understanding.***

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I write songs that tell stories, on topics that are less-discussed than they should be-whether on the thinking that allows religious wars and environmental exploitation, or a protest against the untimely death of a
musical role model. I learned to write songs in the 1970's and 80's, in the topical tradition of contemporary folk songwriting, and I have continued in this vein since folk songwriting became more mainstream. My songwriting models have been many and varied, from Judy Small and Holly Near to Tommy Makem and Mari Boine. Strings and hand percussion are my instrumental orientations; I have a guitar, violin, bodhrán, tablas and an avocado-shaped rattle filling my living space at home. However, I am also broadening my experience with the voice as an instrument and as a vehicle for deeper self-expression. Thus I have been experimenting with Sami joik vocalizing, Irish sean-nos motifs and other singing styles from various parts of the world.

I operate from the belief that we all have an unlimited supply of songs and dances incubating inside us, with more always arriving from some deeper source. However, in addition to writing and performing original music, I also try to preserve songs and compositions by other songwriters, especially those by folk songwriters who are less well-known in mainstream music-those whose albums are out of print, who are given less airplay now than they had 10-20 years ago, and those who have retired from a full-time musical profession. Many of these people are musical heroes and role models of mine, and I play their songs as tributes to those from whom I learned the craft of songwriting and performance, either through the medium of recordings or through live performance, workshops and personal acquaintance.

My own performing experience began as a teenager, singing and playing in high school instrumental performances and church programs, along with lunchtime gigs in nursing homes, local Broadway productions and ethnic festivals, and the Deer Creek Fiddlers' Convention. I have played in coffeehouses and open mikes wherever I have traveled as a student and contract archaeological technician, in Virginia, Arizona, Wyoming, New Mexico, Washington, and two college semesters in Ireland. I have performed at the Pike Place Market and at Songwriter Showcases and other performance opportunities at the Northwest Folklife Festival and Seattle Rhythm Festival/Days of Percussion. I am always seeking to learn new styles of traditional and contemporary music, and to find other musicians to work with and learn from. I am also in continuous search of recording and performance opportunities, in order to fulfill a never-ending desire for new creative outlets.




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african music, alternative medicine, andrew de leon, bodhran, brokeback mountain, busking, captain jack sparrow, cats, celtic art, celtic culture, celtic music, chocolate, christopagan, clancy brothers, clannad, countertenors, creation spirituality, creative writing, crocodile hunter, dante, dante/virgil, divine comedy, drumming, e-commerce, ennis/jack, ethnic festivals, evp, feminism, feminist musicians, folk music, gaeilge, gaelic, gay rights, ghost research, ghosthunting, ghosts, goddess, goddess spirituality, harry potter, haunted houses, herbalism, herbs, indian music, interreligious dialogue, ireland, irish gaelic, irish music, jack sparrow, jack/will, jason webley, jilling off, leftists, liam clancy, loreena mckennitt, mari boine, marriage equality, matthew fox, multiculturalism, music festivals, mysticism, neolithic art, norway, nusrat fateh ali khan, nymphadora tonks, oscar wilde, paganism, performance art, pete seeger, pirate sex, pirates, pirates of the caribbean, podge and rodge, potc slash, professor snape, progressive politics, qawwali, rachel corrie, reiki, religious left, robin williams, same-sex marriage, sami music, scandinavian music, sculpey, seattle, seattle artists, seattle arts, seattle culture, seattle music, seattle musicians, severus snape, sex with snape, shagging captain jack, shagging severus snape, shamanic journeys, shamanism, snape, snape/lupin, snape/neville, snape/tonks, snarry, sneville, snonks, snupin, songwriting, space:1999, sparrabeth, sparrington, starhawk, steve irwin, street performing, street theater, surrealist art, tabla, the clancy brothers, tommy makem, tonks, top!snape, traditional irish music, travel, trial marriage, turrow, victor bergman, virgil/dante, wicca, women's music, world music, zakir hussain

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