…That the men who took over Pop Culture the moment the punks and the Overlords conspired to punch a hole in the side of Rock and Roll America’s boat didn’t quite grasp why there were so many songs about sixteen-year-old girls and exactly none about fifteen-year-old girls….

…unless, of course, you’re telling them to go away…


I knew there was some reason I always liked the second Indiana Jones movie best. Pretty sure no one ever imagined Kate Capshaw as a twelve-year-old.

[NOTE–And, yes, I know who directed American Graffiti–and then proceeded to never grow up.]


  1. John…..As you know, I am a huge fan of your site….But! What the heck are you saying in today’s post….Let e add that I am a gigantic fan of Bobby Vee and to a slight lesser degree Johnny Burnet. As well as the films and filmmakers you referenced. Soooo I need you to dumb it down for me and perhaps some other readers…..Please, what’s your point?

    • Well, I’m partly just having fun with it. But I do find it a little disturbing–especially given the size of their subsequent influence–that Lucas, et al, thought the idea of Indiana Jones having an affair with an eleven or twelve year old was “interesting.” They came round to their senses–they even cast a 30 year old Karen Allen for the part eventually. But one wonders where their hearts were.

      Bobby Vee’s great record was about resisting such temptations. “You’re Sixteen,” at least as Johnny Burnette sang it, was a young man’s ode to the moment a young girl becomes viable as a love interest/sex object, according to modern norms (it was a little creepier when a thirty-something Ringo covered it in the seventies). I found a certain irony in Lucas having used Johnny’s record on the soundtrack of American Graffiti–and his comment that Indy having an affair with a sixteen-year-old (as opposed to a 12 or even 15-year-old) “just isn’t interesting.” So there’s evidence–direct and indirect–that he knew where the line was.

      He just wanted to cross it.

      In the seventies/early eighties there were forces in place to keep him from crossing those lines, even subliminally.

      Wonder what would happen now?

  2. Put another way–The minute someone starts talking about making their lead character “more interesting” by giving him a past that includes an affair with an underage girl (or suggesting that is might be okay, if she’s “a little promiscuous”) somebody should start singing:

    “Come back, when you grow up girl”

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