Ye-Ye Girls of 60s French Pop by Jean-Emmanuel DeluxeYe-Ye is a delightful style of pop music featuring young female singers that influenced France and many other countries, as says Susan Sontag, with its particular “camp” style throughout the 1960s.
Ye-Ye pop had secondary explosions in the 1970s and 1990s in Japan and Europe through the likes of Lio (who provides this book’s foreword), and in the United States through singers like April March, whose Ye-Ye number “Chick Habit” was heard in the Quentin Tarantino film Death Proof.
Interest in Ye-Ye revived again recently during the fifth season of the mega-popular television series Mad Men, when Don Draper’s young, sexy wife sang the Ye-Ye number “Zou Bisou Bisou,” originally made famous in the 1960s by blonde actress Gillian Hills.
The most famous Ye-Ye practitioners include the glamorous Sylvie Vartan (married to rock star Johnny Hallyday), French lolita France Gall, beautiful actresses Brigitte Bardot and Chantal Goya, and the statuesque Francoise Hardy.
This collection by French pop music expert Jean-Emmanuel Deluxe includes many interviews with the original singers and producers, visual excerpts of record covers, both 45s and LPs, and remarkable excerpts from a children’s fan diary of the period.
Ye-Ye means “Yeah Yeah” and many music lovers are ready for an immersion in this beloved but little-known genre.
“This lavishly illustrated compendium is like a passport to another time and place…a window into an era in which one could switch on the TV & see Bridget Bardot singing about Harley Davidson motorcycles while wearing thigh-high boots and a black leather mini-skirt. This book may well be the Bible of Ye-Ye .”
Various - Ye Ye Girls Vol. 4 : 60's European French Garage,Beat,Pop Female Singers Music Compilation
In spite of its light-as-a-bubble appearance, pop music can tell us more than many a sociological essay. All rights reserved. Published by Feral House. The disastrous fate of thousands of carefree teenyboppers was never better exposed than it is here, on the A-side of a successful single. The lyrics provide a cruel inside view of the ephemerality of youth: many youngsters of that time would very soon embrace the sadness of adult life and leave the lights of the Bus Palladium the club in the mid-sixties behind for good. The evolution of the status of youth, its subcultures, and its rites of passage are all reflected in the music industry.
Plastic sunglasses, berets, stripes, hair straps, backpacks, pink outfits and white boots.. How are we not looking at the french version of the mods? No one is wearing pigtails.. Bangs are not a thing.. I mean blonde bangs feel so right, uh! Can't tell you about the 60's in France and not mention Jane Birkin - the one whose name was given to the most expensive bag in the world - the Birkin bag by Hermes of course.
These are some anonymous female reactions to an early appearance by Brigitte Bardot on French television, as recorded by Simone de Beauvoir. The feminist writer was intrigued enough by Bardot to publish a book-length treatise on her titled Brigitte Bardot and the Lolita Syndrome. The original article appeared in Esquire in When I first read it a decade ago, I remember being confused — could we be thinking of the same Brigitte Bardot, this kitten wielding not a whip, but a needle-sharp eyeliner brush? At one point in her essay, de Beauvoir notes that the star represented not a wife, child, or mother archetype, but something wholly new — a carefree, in-between woman who giggled at the idea of marriage and commitment, in what was still a very conservative society. And their free-spirited style — schoolgirl minidresses, slick go-go boots, mod eyeliner — fused elements of childhood with a very adult sensibility. And Hardy, with her love of suits, pushed the menswear-as-womenswear look as liberation.
Doing Time Lyrics
Even more well-known names, such as the actresses Brigitte Bardot and Jane Birkin, were involved with its suggestive, candy-coloured aesthetic. In the book, Deluxe attempts to align the growing popularity of the music with what was happening in French society at the time. The concept of the teenager was being imported from the US, and youth and its various subcultures were rising in prominence. But the adults had a lot of catching up to do. In a way this music was really the only window of liberty for a lot of young people. Despite accusations that the music sometimes was no better than bubblegum pop, the women still captivated. Although Gainsbourg was at first dismissive of the genre, he later changed his mind when he saw the opportunity they afforded.
Any song that was presented as a chouchou went straight to the top places in the charts. The Salut les copains phenomenon continued with the magazine of the same name , which was first published in in France, with German, Spanish, and Italian "Ciao Amici" editions following shortly afterward. Radios were practicing a real hype, much more than today. We, the singers, were much, much less numerous than today - and there were fewer radios. It was also the heyday of Salut les copains , and the press played an extremely important role, it could promote beginners. I remember being in the first page of Paris Match very quickly, without being very well known or doing anything special for that; this would no longer be possible nowadays. In fact, in the s, we saw the advent of the mass media.