For more than a half-century, from about the mid-1870s until well into the twentieth century, New York City's National Police Gazette was notorious for its illustrations and sensational tales of boxers, criminals, do-gooders, police, drunks, showgirls, philanderers, gold-diggers, bettors, bartenders, barbers, gamers, corrupt parishioners, dirty old men, and sportsmen and women. It never missed a chance to boost circulation with a titillating or violent full-page woodcut illustration. These included shirtless boxers, petticoat-clad young ladies, showgirls in tights, bar brawls, shootings, stabbings, beatings, disasters, and beautiful belles fighting or flirting or being beaten or shot by jealous husbands.In short, the Gazette was the chronicler of the mad, wicked world (a long-running column of vignettes of vice was called simply, "This Wicked World") of the late nineteenth and twentieth centuries that would become one of the most beloved, and despised, tabloids of its era. Aimed primarily at a working-class audience of men and boys, it was prominent in barbershops and taverns. Its racy content caused some to consume it in secret; for others, it was a badge of honor. For those who grew up during those years, it was a passing fancy that nevertheless stayed in their memories; nostalgia for it, and the era, lingered. "We have to read awfully far to find our past," wrote Gene Smith, who along with his wife published a 1972 volume chronicling Gazette articles and illustrations. "But something of it is here in the Police Gazette to say that once upon a time these our own breathed, yelled, fought, made love, had great and terrible passions-that they lived."1Though women surely sneaked many peeks at Gazettes to see the pectorals of boxer Jake Kilrain and other boxers and strongmen, it was clear that the weekly magazine was aimed primarily at young men. It was sold primarily on the streets and in barbershops and saloons. And it used illustrations, stories, shorts and advertisements2 to embrace, challenge, deconstruct and make money off tales of deviance and masculinities. For masculinities, and the threats to masculinities and the responses to those threats, were important parts of the development of culture and sport in the late nineteenth century, and it was all reflected in the pages of the Gazette. Factors including immigration, racism, crime, conversion from an agrarian to more industrialized society, more women in the workforce, and changing rules of public conduct and clothing for men and women created both new identities and insecurities among men as well as a market for a magazine that told all these stories in a refreshing and unabashed way. Wrote one historian, "Simply put, the Gazette's illustrated portrayals of sport, crime, and sex defined and described emerging trends and ... masculinities in Victorian and post-Victorian America."3The Gazettes roles in defining, creating, and even challenging masculinities have been documented in a variety of ways,4 but former accounts have not often included a close examination of the portrayals of gay, lesbian, cross-dressing, or transgender lifestyles. The purpose of this article is to examine such portrayals in the Gazette during its heyday and era of largest consistent circulation, 1879-1899. Two issues a year were selected at random for qualitative analysis of text and illustrations to determine if there were descriptions and/or depictions of people that included suggestions about sexuality beyond the hegemonic heterosexual "norms." In addition, the Gazette's coverage of the Oscar Wilde case was included for examination, since Wildes suit for libel and trials for sodomy occurred during this period (1895) and were by far the most public airing of accusations of homosexual conduct yet reported.By 1879 the Gazette's relatively new owner, Richard K. Fox, had turned the Gazette, founded in 1845, from a chronicler of police activities, corruption, and criminal misdeeds into a sixteen-page tabloid with depictions of all manner of sport, crime, heroics, sin, and vice. …