In the 60s, France was overrun with teen Yé-yé girls. Some, like France Gall standout as pivotal artists, while many others were just so much go go. Stella, who had some hits right out of the gate, challenged the whole concept of cute teenaged empty-headed singer. She began writing her own songs almost immediately and they are not of the standard boy meets girl, boy loses girl genre. As she got older, Stella revolted against the entire music machine she was a part of, trying to pen songs that treated the music business, student revolt, fashion, and a host of other topics sarcastically. Eventually I guess she lost faith in the 3 minute pop song.
Though usually lumped in with the yé-yé girls of the 1960s, Stella was more of an anti-yé-yé. Her compositions were styled in the fashion of the period, but the lyrics mocked the yé-yé genre.
The mocking tone of the lyrics summed up her approach to the yé-yé sound. While her contemporaries embraced it, she was highly dismissive of the trend. She was particularly critical of Sheila, France’s schlockiest – but most successful – yé-yé girl. In fact, her next release, La surprise est partie, issued on the main Vogue label in June 1964, enjoyed a little jeu de mots on Sheila’s then recent hit Ma première surprise partie. More open derision was to follow.