The Extreme Party of Yelling (How a laugh buried us all).

Discover the wild history of Italy’s Urlatori and absurd rock. From 1950s trans anthems to punk, see how laughter became a political weapon.

By Marcellusconi · 2026-05-19 · 4 min read

Often, Italianità (Italian-ness) is considered static. Immutable and unquestionable, it is steeped in tradition and inherited over centuries. In fact, it is anything but.

Italy experienced a cultural revolution in its music before many other countries. The powerful, even electric, nature of this this movement is still either misunderstood, undervalued, or both.

Until the tragic and utter disruption of fascism, Italy’s artistic movement was closely linked to that of the United States. Thanks to waves of migration from Italy across the ocean, Italo-American artists were instrumental in shaping the jazz of New Orleans. The icon Caruso brought the Napolitan musical tradition with him to the US, gaining fans and lovers even outside the diaspora. Developments in the States were then relayed back to Italy, creating a close musical relationship between the two nations.

When we speak about censorship, we often think about closure of the media to voices speaking out against the status quo. But this isn’t necessarily the case. Regimes and dictatorships quash happiness. Terror, obsession, and worry feed totalitarian regimes, and thus, even a love song can find itself caught in the meat grinder of the totalitarian censor. More so if that song is ghetto in origin. Even more so if it’s popular in a free country. The result of this was that Jazz and Foxtrot disappeared from Italian dance halls - all in the name of the preservation of racial purity and national identity.

Only following the end of the fascist regime would Italy take back her connection with this avant-garde tradition – as shown by Renato Carosone with his iconic 1956 hit "Tu vuo’ fa’ l’Americano". Jazz and R&B were gaining in popularity again. Unfortunately, though, that wasn’t enough. These genres, rediscovered after their fascist interruption, were already verging on irrelevance for many artists.

This gave rise to a new cultural manifesto, led by a group of ingenious artists, anarchists, and troublemakers who had to revolt against the catholic and nationalist culture which was still strong in post-fascist Italy. A melodic and orchestral tradition was still dominant even while rock and roll was knocking at the world’s door.

This pioneering group called themselves the Urlatori – The Screamers.

Their founder was Ghigo Agosti who, in 1959 released the single Coccinella. This song was inspired by and dedicated to Cocchinelle Jacqueline-Charles Dufresnoy. She was the first person in history to receive gender reassignment surgery with an operation performed in Casablanca by Dr. George Burou, just one year before. You could write an entire article on the cultural impact of Cocchinelle, an iconic showgirl and singer, and I would recommend finding out more about her fascinating story.

But I digress. Instead, I want to turn to early 1960s Italy: extremely Catholic and still bleeding from the inception and ultimate defeat of one of the most barbaric regimes of its history. But, in jukeboxes throughout the nation, people were playing a rock and roll song and singing along to its melody of love for Cocchinelle – a transgender woman. This seminal track marked the end of an era and would become famous worldwide.

Ghigo Agosti- Coccinella — Embedded content: https://youtu.be/7FsolYdZVKM?si=88JAGmPmTks00Atl

Naturally, the bigots didn’t like it. The Italian National Broadcasting Service (RAI) were still engaged in the unofficial censorship of rock and roll. It wasn’t even just about the lyrics, but purely for the style, which was considered inappropriate.

In response, Agosti founded the "Partito Estremista dell’Urlo" (the Extremist Party of Screaming). Many artists replied to his call, including icons like Little Tony and Tony Renis. Together, they toured throughout Italy, organising music festivals as they went. During this period Agosti released his second single: "Banana frutta di Moda".

GHIGO - Banana frutto di Moda - 1960 — Embedded content: https://youtu.be/i9ehqezn3uw?si=MSI8rez_Ja6Bh0vR

This movement marked the inception of a new artistic genre. With its comedy, absurdity and irony, it would prove a powerful weapon against censorship and the status quo - as was stated by the anarchist Bakunin. The first motive of dictatorships is to remove happiness from art. So, what could be more effective against their censorship than comedy and absurdity?

By this time Agosti was resonating from jukeboxes around the nation with his crazy tracks – along with Clem Sacco, who in the 60s gave up lyrical singing for absurd rock. Unscrupulous and with just one object: to let people have fun, without taboo, to the rhythm of rock and roll – all the while avoiding censorship in any way they could.

Clem Sacco went on to found his own record label, travelling around and selling albums from his Camper van – alongside playing cards with naked women printed on them, and other absolutely unusual, bizarre items. During his concerts, he would sing dressed as Tarzan, or in only a tiny leopard-print skirt which left little to the imagination. And yet, hidden in his lyrics was a true need for freedom.

Clem Sacco at one of his last concerts in 2013. We miss you Clem.... — Embedded content: https://youtu.be/_i5ONzirnso?si=151vJBLiCXHJSX6f

The ideas of the Urlatori would inspire many musicians, and is still alive today. It is impossible not to mention geniuses like Freak Antoni, and the SKiantos. The Squallor, the Kaos Rock, and Kandeggina (the first female Italian punk rock group). And finally the most modern: Elio e le Storie Tese, who took their name from the famous quote from the legendary song ‘Eptadone’ by the Skiantos.

SKIANTOS Eptadone — Embedded content: https://youtu.be/hp7jWz-RlCQ?si=U0Sw8D5Ru7Iddanm

Joe Squillo and the Kandeggina Gang singing "Io Sono Cattiva" — Embedded content: https://youtu.be/S3i7U9FKlFg?si=psSr5J_GYeP1Naur

Too many people think about absurd rock as something stupid and superficial, when in reality it drove a true cultural revolution against prejudices which are still alive in our society. Hidden in their apparently nonsensical lyrics, were topics considered utterly taboo during their time: addiction, feminism, homosexuality and all the frustrating paradoxes of modern society.

If you think absurd music is something stupid, you must know that a laugh will bury you all.