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Félix Mayol (1872-1941) was a well-known French singer during the Belle Époque. Born in Toulon, he began his career modestly on stages in Toulon and Marseille but achieved success in Paris in 1895 with his campy, effeminate singing style. According to an anecdote in his memoirs, unable to find a camellia—the fashionable flower worn by elegant men on their frock coats—he used a sprig of lily of the valley instead, which became his symbol. His distinctive hair tassel earned him nicknames such as "the red-toupeed artist" and "flame of punch," inspiring many imitators. His first major hit came in 1896 with "La Paimpolaise" by Théodore Botrel. In 1900, after a brief engagement at the Eldorado singing "À la cabane bambou," he joined La Scala, where he premiered the song that brought him wealth and fame: "Viens, poupoule!" (1902), an adaptation of a German tune arranged by Henri Christiné and Alexandre Trébitsch. He returned in 1905 with "La Matchiche," a rendition of a popular Spanish dance song. That year, he also appeared in 14 phonoscènes directed by Alice Guy at Gaumont, including "La Paimpolaise." These were short sound films using a disc-based sound system, several of which still survive. By then, Mayol had recorded extensively on cylinders and discs.
In 1907, his operetta "Cinderella" at La Scala was not well received, but one song from the show, "Les Mains de femmes," became a hit, followed by "Cousine" in 1908. His fee then reached 1,000 gold francs, enabling him to purchase the Parisian cabaret Concert in 1910, which was renamed Concert Mayol. As the venue's star performer, he also helped launch the careers of young talents like Valentin Sardou (father of Fernand and grandfather of Michel Sardou), Maurice Chevalier, Émile Audiffred, and Raimu. In 1914, he passed leadership of the cabaret to Oscar Dufrenne and embarked on tours across France and French-speaking countries with his Baret tours. His fame attracted figures such as Charlie Chaplin. During 1914–1918, like many artists, he produced numerous anti-German songs to boost troop morale, but his career waned after World War I. He published his memoirs in 1929, performed seven farewell shows in Paris in 1938, and retired to Toulon.
Devoted to his hometown and its rugby club, Mayol donated 60,000 gold francs to fund the construction of a stadium, which still bears his name today: Stade Mayol. The lily of the valley he favored became the club's emblem, and the lavish dinner he hosted to celebrate the 1931 title remains legendary. The traditional boutonnière was artificial, as he disliked the flower's scent. Mayol’s alleged or actual homosexuality, inferred from his celibacy and effeminate stage persona, made him a target for journalists. Contemporary songwriters and writers often referenced this, including a fabricated marriage between Mayol and Mistinguett that sparked much laughter. To date, no direct testimony from Mayol openly discussing his sexual orientation has been published, except for one exception. His songs, often raw in tone, typically use the male collective "we" and depict women—usually prostitutes or sexually receptive figures. According to his memoirs, Mayol created nearly 500 songs. The French Wikipedia lists around 120 titles, drawing from Gallica and other sources. Following the 1905 Gaumont phonoscènes, Mayol appeared in five additional films: three silent films, including "Le filon du Bouif" (Louis Osmont, 1922), and two early sound films, "Aux urnes, citoyens!"/"Tu seras député" (Jean Hémard, 1932) and "La dame de chez Maxim's" (Alexander Korda, 1933), starring Florelle.
