Alix Cecil Dobkin (August 16, 1940 – May 19, 2021) was an American folk singer-songwriter, memoirist, and lesbian feminist activist. In 1979, she was the first American lesbian feminist musician to do a European concert tour. Early life Dobkin was born in New York City into a Jewish Communist family, named after her uncle Alix who died fighting against the fascists in the Spanish Civil War. She was raised in Philadelphia and Kansas City. Dobkin graduated from Germantown High School in 1958 and the Tyler School of Art with a Bachelor of Fine Arts degree in 1962. Career Dobkin began her career by performing on the Greenwich Village coffeehouse scene in 1962. She played with greats like Bob Dylan and Buffy Sainte-Marie. Starting in 1973, she released a number of albums as well as a songbook and toured throughout the U.S., Canada, England, Scotland, Ireland, Australia, and New Zealand promoting lesbian culture and community through women's music. Dobkin enjoyed a small and devoted audience, has been called a "women's music legend" by Spin Magazine, "pithy" by The Village Voice, "Biting...inventive... imaginative" by New Age Journal, "uncompromising" in the New York Times Magazine, and "a troublemaker" by the FBI. She gained some unexpected fame in the 1980s when comedians such as David Letterman and Howard Stern tracked down her Lavender Jane Loves Women album, and began playing phrases from the song "View From Gay Head" on the air. By the 21st century, Dobkin had ceased writing and recording new material, but continued to tour until her death, stating she had "lost interest" and that writing her memoir had "sucked up all the creativity.” In 1977, she became an associate of the American nonprofit publishing organization Women's Institute for Freedom of the Press (WIFP). Dobkin was a member of the OLOC (Old Lesbians Organizing for Change) Steering Committee. Her 2009 memoir, My Red Blood, was published by Alyson Books. Activism Dobkin spoke about women-only spaces and protections for lesbian women. She was a vocal critic of the inclusion of trans women in women-only spaces. In one letter to the National Center for Lesbian Rights, she asserted, "For over twenty years men have declared themselves 'women,' manipulated their bodies and then demanded the feminist seal of approval from survivors of girlhood.... [My lyrics] are not 'oppressive' but refer to those of us who have a girlhood & a clitoris, & no one else."