Montéhus

In 1907, he published Gloire au 17ème in honour of the regiment of soldiers who refused to fire on a demonstration of wine growers in Béziers.

In his lively, driven songs, Montéhus opposed war, capitalist exploitation, prostitution, poverty, religious hypocrisy, but also the income tax: He also defended the cause of women in a remarkable way.

La grève des Mères (The Mothers' Strike) was legally banned on 5 October and Montéhus condemned for "incitement to abortion".

[3] At the time of his exile in France (between 1909 and 1912), Lenin gave a series of conferences in a room of either the Rive Gauche or Bobino (the places is uncertain).

It was then that Montéhus sang La Guerre finale, a grotesque détournement of L'Internationale: Similarly, in Lettre d'un Socialo (sung to the tune of L'air du Clairon by Paul Déroulède), he explained that the time had come for La Marseillaise, while waiting to be able to sing L'Internationale once again: Montéhus was the image of the working people, who left en masse for the front contrary to the fears of the state adjutant who had overestimated the workers' commitment to pacifism.

He would attempt to redeem himself in 1923 by composing La Butte Rouge (The Red Mound), which makes reference to the Mound of Bapeaume, theatre of violent battles at the Somme during the offensive of the summer of 1916 (and not, contrary to a common error, the Paris Commune of 1871, strongly evoked in the work of de Montéhus).

In this song, he takes on those responsible for the carnage: [...] car les bandits qui sont cause des guerres n'en meurent jamais, on ne tue qu'les innocents.During the 1930s, he was a member of the French Section of the Workers' International (SFIO).

At the advent of the Popular Front, at the age of 64, Montéhus was again at the forefront with Le décor va changer, Vas-Y Léon !

",[6] Le Cri des grévistes, L'Espoir d'un gueux, songs in which he supported the Popular Front and Léon Blum.