Paid my dues 1974–1979
Dates
1974
1975
1976
1977
1978
1979
12 issues
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1974 v1 #1

1974 v1 #2

1974 v1 #3

1975 v1 #5

1976 v1 #6

1977 v2 #1

1978 v2 #2

1978 v2 #3

1978 v2 #4

1979 v3 #2

1979 v3 #3

1979 v3 #4

1974 Volume 1 Issue 1
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40 pages
1974 Volume 1 Issue 2
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48 pages
1974 Volume 1 Issue 3
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48 pages
1975 Volume 1 Issue 5
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52 pages
1976 Volume 1 Issue 6
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58 pages
1977 Volume 2 Issue 1
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44 pages
1978 Volume 2 Issue 2
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48 pages
1978 Volume 2 Issue 3
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48 pages
1978 Volume 2 Issue 4
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48 pages
1979 Volume 3 Issue 2
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48 pages
1979 Volume 3 Issue 3
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48 pages
1979 Volume 3 Issue 4
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48 pages
About this Publication
Issues:
12Published:
1974–1979Publisher:
Women's Soul PublishingLocation:
Milwaukee, United States
Founded by Dorothy Dean of Milwaukee in 1974, Paid my dues is an important document of women’s music of the 1970s. A major focus of the zine was women folk musicians and singer-songwriters, especially those who directly confronted political concerns in their lyrics, such as Betsy Rose, Jane Voss, Willie Tyson, Vera Johnson, and Margie Adam. Other articles delved into women’s jazz and classical music, covering “foremothers” like Hildegard von Bingen and Clara Wieck Schumann alongside living artists such as Vivian Fine and Mary Watkins. Each issue featured sheet music for songs contributed by women composers, and articles on practical matters—reading sheet music, guitar-playing technique, chord substitutions—were also included. Paid my due’s profiles, interviews, reviews, and editorials provide insight into the evolution of second-wave feminism more broadly.
About this Publication
Issues:
12Published:
1974–1979Publisher:
Women's Soul PublishingLocation:
Milwaukee, United States
Founded by Dorothy Dean of Milwaukee in 1974, Paid my dues is an important document of women’s music of the 1970s. A major focus of the zine was women folk musicians and singer-songwriters, especially those who directly confronted political concerns in their lyrics, such as Betsy Rose, Jane Voss, Willie Tyson, Vera Johnson, and Margie Adam. Other articles delved into women’s jazz and classical music, covering “foremothers” like Hildegard von Bingen and Clara Wieck Schumann alongside living artists such as Vivian Fine and Mary Watkins. Each issue featured sheet music for songs contributed by women composers, and articles on practical matters—reading sheet music, guitar-playing technique, chord substitutions—were also included. Paid my due’s profiles, interviews, reviews, and editorials provide insight into the evolution of second-wave feminism more broadly.