About the Project

If you listen to enough early jazz and popular music from the 1920s and 1930s, the queerness in the songs is unmistakable. Hundreds of recordings survive that feature male vocalists pining over men, female singers telling lustful stories of beautiful women, and lyrics that altogether complicate a gender binary.

Though the reasons these songs exist are complex, the following five aspects of US and UK social and performance culture are key. Each contributing cause corresponds to an exhibit:

From oopsie gaysie songs that were certainly intentional, to those that played with gender for comic effect, to others that were largely incidental, each tune tells us more about the era. By placing the recordings in the context of history, we can discover how these sometimes sonically surprising songs were once possible and plentiful, and why their wide acceptance would fade into the past.

“The first time I heard an oopsie gaysie was in 2015, as I searched through old big band recordings. I pressed play on a song by a vocalist I hadn't heard of before, and I couldn't believe my ears. She was singing about wanting to marry another woman.

I felt shocked, elated, and I had so many questions about this seemingly rare find from almost a hundred years ago. In a world still filled with straight songs... How? Why? And where could I listen to more!? As I searched through old albums, my MP3 collection slowly grew to dozens of similar songs. It became a passion to find moments of queerness from the past, though I still couldn't answer my first two questions.

After months of searching, I came across JD Doyle's radio show on cross vocals. It was then I knew that I wasn't alone in my fascination and I finally had a name for these songs that had become so important to me. As years went by my collection grew into the hundreds, and I gradually started to piece together the many complicated factors that shaped the music. I knew this project was worth sharing with the world.

With an endless thanks to the Oopsie Gaysie team for helping turn this vision into a reality, I hope this archive and its accompanying exhibits can serve as a resource for many people and for many reasons: for those researching or curious about music and/or LGBTQ history, as a place for DJs, dancers, and musicians to go to thoughtfully expand their playlists and repertoires, and most of all, for other queer people to find songs from the past that mean something just as special to them.”

Effie Ralli signature

Effie Ralli is a public historian, musician,

and museum educator from the US and UK

The team

Research, Writing, Content DesignEffie Ralli

Web Design & Development Dillan Tai

Layout Consulting, Graphic DesignHelen Ralli

AnimationVicky Lee Instagram

With special thanks to the Public History department and MA cohort at Royal Holloway, University of London for their feedback and support.

the team on zoom

Recommended Reading

The following select books and articles particularly shaped the research on this project. A great many biographies and websites on musical artists working during the 1920s and 1930s were also key to my research. Talking to queer music archivist JD Doyle, cultural historian Allison McCracken, and musicologist Stephan Pennington, who all generously shared their insights with me, was invaluable. Finally, I highly recommend finding autobiographies and oral histories of artists that interest you to hear their own perspectives. - Effie Ralli

“White Face, Black Voice: Race, Gender, and Region in the Music of the Boswell Sisters.”

Laurie Stras

Journal of the Society of American Music, 1(2) 207-255, 2007.

“Transgender Passing Guides and the Vocal Performance of Gender and Sexuality”

Stephan Pennington

Oxford Handbook of Music and Queerness, 238-275, 2018

Gay L.A.: A History of Sexual Outlaws, Power Politics, and Lipstick Lesbians

Lillian Faderman and Stuart Timmons

Basic Books, 2006

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