Airing from 1AM to 5AM, six nights a week from the summer of 1967, TBS Radio’s late night broadcast program, “Puck In Music,” was a slice of the sonic zeitgeist for the baby boomer generation. Teenagers throughout Japan tuned in for the latest music, pranks, and listener postcards with which to pass the wee hours of the night. Cohosted by Nozawa Nachi and Shiraishi Fuyumi, the Thursday night edition of “Puck” was noted for its engagement with listener submissions, read out by Nozawa and enlivened by the two hosts’ banter. These submissions featured stories about experiences of first love, puberty, or sexual encounters, bringing information that may have been considered private into the listening public of “Puckmates.” In this paper, I explore the vocal techniques utilized by both Nozawa and Shiraishi to create an affective space of gender play and gender policing for young people in the late 1960s and early 1970s. As Nozawa modulated his voice to read as a girl worried about her first boyfriend or a middle school boy worried about body hair, listeners laughed at his flamboyant characterization of the anonymous letter-writer. This performative play served not only as a space of transgressive crossing of the gender boundary but also reinforced this border, as Nozawa and Shiraishi offered advice or commented on the letter’s content. As such, I consider how the line between public and private, masculine and feminine, was both crossed and maintained by the mediated voice and the listening audience.