Although many critical studies identify Buffy as a post-modern, post-feminist, late 20th/early 21st century icon, Buffy and her appeal to teenage girls are constructed largely out of the same concerns, anxieties, and postures that occupied teenage girls forty years earlier. Looking at the topical and thematic similarities between Buffy the Vampire Slayer and girl group music of the early 60s, illustrates that as much as we think the latter half of the 20th century has changed the position and identity of women in our society, teenage girls still face the same challenges for their sexual and personal identities that they did forty years ago. Girl group music shares ambivalent attitudes towards men and sexual behavior reflected in the Buffy/Angel relationship, illustrating that teenage girls face similar decisions regarding sexuality as they did in the early 60s despite marked societal change since then in sexual mores. Furthermore, even though a concatenate change in gender roles characterized our society in the last forty years, Buffy, particularly in her liaison with Riley, demonstrates the same uncertainty about assertiveness and position in male/female relationships as her seemingly more naïve girl group counterparts. Finally, what many modern critics recognize as one of the more disturbing aspects of BTVS, Buffy’s sixth season sado-masochistic relationship with Spike, revels in the same nexus of sexuality and violence, both real and metaphorical, faced by the teenage protagonists of girl group music. Building on critical studies by Daugherty, Levine and Schneider, and Siemann, an examination of the seven seasons of Buffy, recorded music from the girl group era, and secondary works discussing female teenage angst show that despite social evolution the psychological realities for many young women in their personal and sexual identities remain unchanged.