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. In popular culture 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