of the academic year. This provoked an immediate outcry in the local, national and international media. Sanguinetti's Report to save capitalism By 1972, Gianfranco Sanguinetti and Guy Debord were the only two remaining members of Situationist International. Working with Debord, in August 1975, Sanguinetti wrote a pamphlet titled Rapporto veridico sulle ultime opportunità di salvare il capitalismo in Italia (Eng: Veritable Report on the Last Chances to Save Capitalism in Italy), which (inspired by Bruno Bauer) purported to be the cynical writing of "Censor", a powerful industrialist. The pamphlet argues that the ruling class of Italy supported the Piazza Fontana bombing and other mass slaughter, for the higher goal of defending the capitalist status quo from communist claims. The pamphlet was mailed to 520 of Italy's most powerful individuals. It was received as genuine, and powerful politicians, industrialists and journalists praised its contents and guessed the identity of its high-profile author. After reprinting the tract into a small book, Sanguinetti revealed himself to be the true author. Under pressure from Italian authorities, Sanguinetti left Italy in February 1976, and was denied re-entry to France, from which he had previously been deported in 1971. Others Film Hurlements en faveur de Sade (Howls for de Sade) (1952) by Guy Debord, had 24 minutes of black screen. Book Mémoires (1959) by Guy Debord and Asger Jorn had the cover made of sandpaper. Legacy The situationist tactic of a détournement-based hoax was notoriously used in February 1977 by the Sex Pistols, who played their version of "God Save the Queen" while sailing down the River Thames past the Houses of Parliament to mock the Silver Jubilee river procession in honor of Queen Elizabeth II. The expression situationist prankster has been later established as a typical label used on those who perform media pranks or publicity stunts, as in the cases of The KLF, the K Foundation, Genesis P-Orridge, Harun Farocki, and others. A growth of campaigns using tactics such as the Flash Mob or Subvertising in recent years can be traced to situationist pranks. These tactics, notable in stunts by The Yes Men, campaigns by Greenpeace, and guerilla art by Banksy, have been characterised by their appropriation of establishment symbols, shifting the intended purpose of public (now private) space, or creating bizarre reality hacks that merely remix the cultural context, as opposed to providing something entirely surreal. Some surreal pranks continue to exist in