1960 жылдардың басындағы «йе-йе» поп музыкасы

Style of pop music

Yé yé (jeje) or yeyé (ɟʝeˈʝe) was a style of pop music that emerged in Western Southern Europe in the early 1960s. The French term yé yé was derived from the English "yeah! yeah! ", popularized by British beat music bands such as the Beatles. The style expanded worldwide as the result of the success of figures such as French singer songwriters Sylvie Vartan, Serge Gainsbourg and Françoise Hardy. Yé yé was a particular form of counterculture that derived most of its inspiration from British and American rock and roll. Additional stylistic elements of yé yé song composition include baroque, exotica, pop, jazz and the French chanson.

The yé yé movement had its origins in the radio program [[Salut les copains (radio program) (loosely translated as "hello mates" or "hello pals"), created by Jean Frydman and hosted by Daniel Filipacchi and Frank Ténot, which first aired in December 1959. The phrase "Salut les copains" dates back to the title of a 1957 song by Gilbert Bécaud and Pierre Delanoë, who themselves had little regard for the yé yé music that the radio show typically featured. The program became an immediate success, and one of its sections, "Le chouchou de la semaine" ("This Week's Sweetheart"), became the starting point for most yé yé singers. Any song that was presented as a chouchou went straight to the top places in the charts. The Salut les copains phenomenon continued with a magazine of the same name that was first published in 1962 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 on the front 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 1960s, we saw the advent of the mass media. At the same time, fashion had assumed a considerable importance, which it had never before had. Singers like me became emblems of fashion, in addition to chanson, which helped to maintain notoriety." —Françoise Hardy, Télérama, 2012. Françoise Hardy performed on Mireille Hartuch's Petit Conservatoire television show in February 1962 (a year before The Beatles recorded "She Loves You"), singing "La fille avec toi", which began with "Yeah yeah yeah yeah". After she finished, Hartuch remarked on the "yé yé" lyrics and asked her what they meant. The term was popularised by Edgar Morin in a July 1963 article in Le Monde.

While the yé yé movement was led by female singers, it was not an exclusively female movement. The yé yé masterminds (such as Serge Gainsbourg, who wrote several hits for France Gall, Petula Clark and Brigitte Bardot, but was considerably older and came from a jazz background) were distinct from the actual yé yé singers. Michel Polnareff, for example, played the tormented, hopeless lover in songs such as "Love Me Please Love Me", while Jacques Dutronc claimed to have seduced Santa Claus's daughter in "La Fille du Père Noël". Among the more popular male yé yé singers was Claude François, notable for songs such as "Belles, Belles, Belles", a French language adaptation of the Everly Brothers' and Eddie Hodges' "(Girls, Girls, Girls) Made to Love". In Portugal, the first yé yé bands appeared in Coimbra in 1956, most notably Os Babies, led by José Cid. Other Portuguese bands followed afterward, including Os Conchas, Os Ekos, Os Sheiks, Os Celtas, Conjunto Académico João Paulo, Os Demónios Negros and singers such as Daniel Bacelar.

The yé yé movement maintains a particular prevalence in the music world because of its swinging, catchy rhythms and carefree lyrics. Unlike the confining strictures of society, yé yé promoted a refreshing and invigorating newness and inevitably promoted a sort of sexual rebellion that greatly characterized the 1960s. Dalida's 1960 song "Itsi bitsi, petit bikini", previously recorded as "Itsy Bitsy Teenie Weenie Yellow Polkadot Bikini" by Brian Hyland, perfectly illustrated yé yé's newfound nonchalance and release from prudish subject matter. The song, " which denotes a nonchalant and undisciplined listening," is about a girl afraid to reveal her bikini to fellow beachgoers, and it represents the shocking aspect of the lax attitude toward an increased sexuality, especially for women, as bikinis were previously considered scandalous. Similarly, yé yé contributed to the creation of a youth culture within a postwar France that expressed a certain playfulness and carefree perspective on life. Sociologist and philosopher Edgar Morin commented on the rise and popularity of yé yé music and culture, " seeing in yé yé's frantic, syncopated rhythms simultaneously a commodified music of adult consumption, and a festive, playful hedonism "

As it was for any postwar youth culture, yé yé acted as a creative outlet that aided in defining an era as well as an identity for Europe, specifically France. The archetype of la parisienne, exuding an exotic charm and magnetic appeal, was greatly defined by the influence of the numerous yé yé girls within the scene and created an indelible mark in the worlds of both fashion and style. The " escapist, ironic " facets of yé yé enticed thousands of listeners, promoting a gaiety and glamour that intertwined with the sexual freedom and modernity of the Swinging Sixties.

A 1964 Life article titled "Hooray for the Yé Yé Girls" attempted to introduce three popular female yé yé singers, Sylvie Vartan, Sheila and Françoise Hardy, to American readers. It erroneously implies that the term "yé yé" is derived from the shouts of the crowds watching the performers. In her 1964 essay "Notes on "Camp"", Susan Sontag cited yé yé as an example of an entire genre being annexed by the camp sensibility. The Italian title of the 1966 film Out of Sight was 007 1/2 agente per forza contro gli assassini dello yé yé. American singer April March brought back the yé yé sound when she released the EP Chick Habit, a rewrite of the famous Serge Gainsbourg song "Laisse tomber les filles," and also recorded many other yé yé inspired songs both in the US and France. French American singer Céline Dijon (an obviously parodic pseudonym) with the groups Les Sans Culottes and Nous non plus (2002–2010). In 2012, French Canadian actress Jessica Paré performed a version of "Zou Bisou Bisou" (originally sung by Gillian Hills) in the fifth season premiere of the American television series Mad Men. Reaction to the song was such that the AMC network released the song as a single in digital download and vinyl formats. Swedish band Therion released a cover album called Les Fleurs du Mal, composed mostly of symphonic metal versions of yé yé songs. The group Doing Time released the album I Was a Ye Ye Girl in 2001.