Don Grady/Robbie Douglas

When I was a kid in the 1960s, a trio of teenage legs signified my bedtime on Thursday nights.  Mom and Dad refused all pleas to stay up longer and investigate, though later, in our basement room, my brother and I heard teenage voices and sitcom laughter.  In November 1966, I was finally old enough.

I found My Three Sons (1960-72), a sitcom about two men who were married: Steve Douglas (Fred MacMurray), who read the newspaper on a reclining chair, and Uncle Charlie (William Demarest), who puttered around with sack lunches and vacuum cleaners.

Their three sons: college boy Robbie (Don Grady), sleepy teenager Chip (Stanley Livingston), and little kid Ernie (Barrie Livingston).  I later discovered that another son, Mike (Disney regular Tim Considine) had been written out.

All of the boys were cute, but I liked Robbie best.

He was not a jock yet trim and energetic, innocent and even naïve yet self-assured; his dark-eyed dreamy expression, shy half-smile, and endless supply of cool varsity sweaters made him seem distant but attainable, a perfect fantasy boyfriend.

And most importantly, he liked boys, not girls!  I watched week after week, as Robbie fell for a cute bullfighter, an Italian exchange student, a hunky college boy named Kerwin, even a gay pal (played by Sal Mineo).  Sometimes he pretended to like girls, too; but it was all an act, to get something he wanted (like a passing grade in chemistry).  When he grew up, he would certainly marry a boy, like his Dad.

One day in 3rd grade, my boyfriend Bill and I were sorting through his older sister's record collection, and we were amazed to find two Canterbury singles by Robbie Douglas, Don Grady.  "Impressions with Syvonne" had Robbie shirtless, displaying warm tanned arms and shoulders, smiling his shy yet knowing smile, but it was too scratched to play.

"Children of St. Monica" was hard to hear, but one line stood out: two children, no doubt boys,  hiding in a church, holding hands among the candles.

An evocation of same-sex romance!

Bill's older brother obligingly took us to the Record Barn every couple of weeks, but we found no more Robbie Douglas records until one day I saw The Yellow Balloon (1969), the cover displaying a hard-muscled young man sullen on a beach.

To my surprise, one of the performers, “Luke R. Yoo,” turned out to be Don Grady in a wig and dark glasses, Robbie Douglas leading a secret life!

Most of the lyrics were heterosexist, but “A Good Man to Have Around the House,” hinted at hidden knowledge.  Robbie argues that he should move in with someone -- I assumed a boy -- because he could help out with the chores: take out the trash, and so on. Then he adds with a lascivious laugh, “I know how to do some things your father just can’t do.”

What things could a boyfriend do that a father couldn't?  In a couple of years, I would know what he meant, but I didn't then.  It had something to do with the boys holding hands among the candles.

The gay-vague Robbie didn't last.  He fell in love with a girl, Katie (Tina Cole),  and married her, and became a nuclear family dad before vanishing from the show. But the image of Robbie Douglas remained with me, the promise of hidden knowledge, of boys holding hands, of men married to each other.

I saw Don Grady many years later, during the late 1980s, in the crowd at a gay sports event in Los Angeles, shirtless, toned and handsome. He saw me looking and smiled shyly. You see heterosexual celebrities at gay events all the time, but still, I was afraid to go over and talk to him.

It was enough to know that he had been a friend all along.

Don Grady died on June 28, 2012.

The Mickey Mouse Club: Were any of the Mousketeers gay?

When Annette Funicello died on April 8, 2013, the world mourned one of the iconic figures of the Boomer generation.  She was the first crush for many heterosexual boys and gay girls who watched her every week on The Mickey Mouse Club, and later in the beach movies with Frankie Avalon

If you are too young to remember, The Mickey Mouse Club (1955-59) was the first children's television program that starred real children, "the Mouseketeers."  They wore wore mouse ear-shaped caps and white sweaters emblazoned with their first names, and performed song-and-dance numbers interspliced with Disney cartoons, amateur talent contests, and dramatic serials.







24 kids were hired in 1955, but only nine made it to the Red Team, the starting lineup.  Four were boys. In the hyper-masculine 1950s, singing and dancing were widely labeled "sissy" pursuits, so they were all gay-coded, though none are apparently gay.

1. Bobby Burgess (born 1941), who was very tall, well-scrubbed, and always smiling.  He went on to dance on The Lawrence Welk Show.

Here's a shirtless shot of Bobby in middle age.

2. The short, sandy-haired Lonnie Burr (born 1943) was the intellectual of the group (his website commemorates Annette Funicello's death with the Latin phrase "ave atque vale"). He is a poet and playwright as well as an actor.


3. Tommy Cole (born 1941) was hired primarily for his singing ability, though had a handsome face and the hunkiest physique among the Mousketeers (left). After MMC, he had a stint in the air force and then became a makeup artist.

4. Cubby O'Brien (born 1946), the kid of the show, became a professional drummer.

Many Boomer kids also remember the boys who stayed for a year, or less, including : Don Agranti  (Don Grady), Johnny Crawford (right, with his older brother Bobby), Dickie Dodd,  Larry Larsen, Mike Smith, Paul Petersen (The Donna Reed Show), Jay-Jay Solari, Ronnie Steiner, and Don Underhill.

Davis Day, the only original Mousketeer who has come out as gay willingly (Tommy Kirk was outed), stayed for two years










The dramatic series (Spin and Marty, The Hardy Boys, Clint and Mac, Annette) typically offered cute boys in shirtless and semi-nude swimming pool shots:  Jonathan Bailey, Tim Considine (left), Kevin Corcorran, Tommy Kirk (right), Larry Larsen, B.J. Norman (top photo), Sammy Ogg, Steve Stevens, David Stollery.

And some even offered some strong buddy-bonding subtexts, counterpoints to the heterosexism of the main song-and-dance numbers.