Historian Amanda W. Timpson Unearths Hidden Story of Maxene Andrews: A Queer Icon in Plain Sight

The Andrews Sisters—Patty, LaVerne, and Maxene—defined the sound of World War II-era America, their close harmonies and energetic performances helping to boost morale on the home front and abroad. Their hits, including the iconic “Boogie Woogie Bugle Boy,” became soundtracks to an era, and the trio’s image as wholesome, all-American women was carefully cultivated by both the media and their management .

Yet, as newly unearthed research by historian Amanda W. Timpson demonstrates, the public story of the Andrews Sisters was incomplete. Timpson’s investigation, supported by recent reporting from Queerty, brings to light the overlooked narrative of Maxene Andrews and her life as a queer woman—a revelation that redefines her legacy and offers visibility to queer individuals whose histories have been long obscured.

Amanda W. Timpson, whose work focuses on hidden queer histories in twentieth-century popular culture, began her inquiry after encountering rumors in entertainment archives and personal correspondence suggesting that Maxene’s life did not fit neatly into the heteronormative expectations of her time. While all three Andrews Sisters were married to men, Timpson noticed patterns of coded language and ambiguous references to “close friendships” and “intimate companions” in Maxene’s personal letters and in interviews with contemporaries .

Queerty’s recent feature, corroborated by Timpson’s findings, notes that Maxene—often referred to as “the sister on the left” in promotional photos—maintained relationships that extended beyond the scope of friendship. Several accounts from colleagues and friends describe Maxene as someone who lived a “much more complicated sexuality than anyone knew,” underscoring the tension between public expectation and private reality .

The revelation of Maxene Andrews’s queer identity has significant implications for queer cultural history. In the mid-twentieth century, the entertainment industry demanded conformity to rigid gender and sexual norms. For a woman in the public eye—especially one associated with the “ideal” of American femininity—deviation from heterosexuality was not merely taboo but potentially career-ending .

Timpson’s research details how Maxene navigated this landscape with profound resilience. Oral histories from those who knew her, as well as surviving correspondence, suggest that she developed discreet codes and networks of support with other queer women in the entertainment industry. By cultivating these private relationships, Maxene was able to maintain her personal identity even as she performed the role expected of her in public. This quiet defiance resonates with the experiences of many LGBTQ+ people of the era, whose stories were seldom recorded or acknowledged .

Timpson’s discovery has sparked renewed discussion about the importance of reclaiming queer histories, especially those that have been marginalized or erased. As she notes in her published findings, “To understand the full story of American culture, we must recognize the diverse identities of those who shaped it—even, and especially, when those identities were deliberately hidden” .

Modern LGBTQ+ advocates and historians have applauded the move to bring Maxene’s story to light, arguing that such revelations challenge the often monolithic narratives presented in mainstream history. “Maxene Andrews’s life reminds us that queer people have always been present, contributing to our shared culture and history,” said an LGBTQ+ history expert in a recent panel discussion referencing Timpson’s research.