Today I was a consideration: if you go to elections, Bersani, to have a small hope of winning, should do as Prodi, or embark on his Noah's Ark dogs and pigs.
is not for me to say which of these are the dogs and pigs which, although in my opinion, both definitions may be fine for a while all these parties.
Well, I reasoned that the classical stacked so loved by Bersani would lead to inevitable friction between the various components of inciucianti, since the mess (if there ever was) would last just long enough to proclaim the winners. After an infinitesimal time, however, revelers should deal with this situation:
If you did go to elections and to win in the crowded government there would be:
1. The Communists 2. The cattocomunisti (Catholics PD) 3. The pidini non-Catholics (laity of PD) 4. Peter 5. Grillo 6. Pannella AND IF 7. Casini 8. Fini.
So now we do cross-comparisons, like the RIS to discover the flaws related to the suspects' alibis:
A. The Communists hate cattocomunisti, Di Pietro, Pannella, Fini and Casini (5 to 8, not bad). B. Cattocomunisti I hate the communists, and Grillo panel (3 of 8). C. Pidini I do not hate Catholics Di Pietro, Pannella, Fini and Casini (4 of 8). D. Peter hates communists, Catholics and pidini (3 of 8). E. Cricket hates everyone except the communists and Di Pietro (6 of 8). F. Pannella hates communists, cattocomunisti, Di Pietro, Grillo and Casini (5 of 8). G. Casini hates communists, pidini non-Catholics, and Peter Grillo (4 of 8). F. Fini hates communists, cattocomunisti, pidini the non-Catholic, Di Pietro, Grillo (5 of 8).
result of the investigation: but you know that if they were really on the government (and there will never be) there would be a lot of fun??
"If there is anyone in jazz who did what they did the Beatles in pop, this is George Benson"
George Benson is the guitar player par excellence, with excellent technique, by the book. Inspired by Wes Montgomery and Charlie Christian, two genes of the guitar, he began his career in 1964 with the recording of "The New Boss Guitar" for Columbia Records. The album, in collaboration with Lonnie Liston Smith and Ronnie Cuber, had some success and from then on, Benson has not stopped since releasing four albums in the other two years following. Young, age 21 years of his debut, he was soon spotted by a man "somewhat influential" in the world of jazz, or Miles Davis. Benson takes the chance and began a period of collaboration with Davis, in Paraphernalia, 1968 in the album "Miles In The Sky", the hypnotic electric guitar that accompanies the trumpet of Miles proprio quella di George Benson che definì il periodo di collaborazione con Miles Davis come il suo più importante periodo di formazione musicale. «Suonare con Miles è come andare all’università» dichiara scherzando in un’intervista. Fatto sta che Benson ne esce laureato a pieni voti, acquisendo da Miles soprattutto la libertà d’espressione e la capacità di pensare musica nello stesso momento in cui si sta suonando, senza rispettare necessariamente gli schemi, capacità di muoversi attraverso strutture sonore diverse l’una dall’altra.
Nel 1969 pubblica “The Other Side Of Abbey Road”, una propria reinterpretazione of "Abbey Roa d " by the Beatles, released a few months before, and so does publishing its own version of "White Rabbit" by Jefferson Airplane at that time. As often happens with great cover are not those of Benson, become, thanks to his musical genius, real unreleased album that have almost nothing of the original versions, so as to be considered by purists "Bensoniani" better than the originals.
In 1971, another pearl is published "Beyond The Blue Horizon", passed quietly for the general public, but an album sounded so eerily perfect by Benson that summons the likes of Jack DeJohnette on drums, Ron Carter on bass, Clarence Palmer to 'organ, percussion Michael Cameron and Albert Nicholson. After working with Miles and the effects are seen especially feel. Before I spoke to George Benson as a musical genius ... why? Well the first answer you in this album. One of the first recordings of jazz fusion, which begins with a cover of So What by Miles Davis ... Many are thinking about a misprint ... No not a mistake. Do not believe in the existence of a cover of So What ... actually me neither. Who would ever dream of "profane" and groped to reinterpret a masterpiece like that? How can a song coverizzare symbol of an era and a symbol of a kind, played by the likes of Miles Davis and Cannonball Adderley contained in "Kind Of Blue", the bible of Jazz? George Benson has done and the result was a cover with the letter "C"! Benson and his scramble and abuse in a good way, So What, especially in the beginning, going almost funk night scenes and away from the incredibly fascinating masterpiece davis. If you listen, for 9 minutes and 20 seconds will no longer belong to this size. Drawn by the sounds clear and clean perfectly ordered. Benson's guitar dominates the scene and riff after riff will take you on a journey that lasts for the rest of the album. As I said, this album has not been very successful. Probably the public at the time was not ready to "cast" but it is definitely an album worth listening to, especially if you like and love Benson's experimental albums that make you appreciate even more the genius of certain artists.
consecration, even the general public takes place in 1976 when George Benson goes to Warner and public "Breezin '". A this work, which marks a turning point, a landmark of American music. Prestigious the production headed by Tommy LiPuma and arrangements of a large class of Claus Ogerman. Breezin ' is something unique, a deep and enjoyable album that never fails. Winner of 2 Grammy Award for Best Pop Instrumental Performance for Breezin and Record of the Year for the single This Masquerade. Not to mention the several weeks at the top of the charts.
be noted in the release of 78 "Weekend in LA" recorded at the Roxy Theater West Hollywood . One of the finest live albums ever published with George Benson in perhaps the best moment of his long career. Its sound complex, but clean and his silky voice make it a masterpiece to have in house, on display
"Dedicated to the beautiful attitude of the people of California sunshine"
In subsequent years, Benson, played and released several albums and many pieces. Among the successes, there is also The Greatest Love of All , written as a soundtrack for the film "The Greatest" Muhammad Ali with . The piece was not very successful at least until it was revived and reinterpreted by Whitney Houston. He later wrote On Broadway for the movie All That Jazz Bob Fosse which won four Oscars at the Cannes Film Festival. Until the 80's when George Benson entrusts the production of his album "Give Me The Night" to Quincy Jones who "rediscovered" the talents of singer Benson to broaden its audience without losing that touch and style bluesman from innate George is inside.
"Give Me The Night" fact had some success and ended up in the Top Ten pop and R & B. It is an album by the typical sounds of the 80 alternating with a few romantic ballad. Benson knew che quello non era il suo “campo preferito”, sapeva che i suoi sostenitori più fedeli non avrebbero apprezzato questo suo allontanamento dal vecchio stile. Però gli servì per riscoprire effettivamente le sue doti canore che forse aveva un po’ trascurato negli anni e lo portò a riscoprire il suo amore per leggende con Nat “King” Cole e Ray Charles, in quel periodo c’era Donny Hathaway che stimava molto, insomma questo amore ritrovato per il canto arricchì Benson e lo influenzò per tutte le produzioni a seguire.
Le collaborazioni di George Benson sono infinite, si va da Miles Davis nel 68 a Chet Atkins nel 85 fino ad Aretha Franklin passando per Chaka Khan. Join the world's most famous Jazz festival in 2006 and began collaborating with Al Jarreau will conclude with a world tour through Africa, New Zealand and Australia to promote their album " Givin 'It Up" . A project that saw the re-interpretation of songs such as Breezin 'Benson or Mornin' of Jarreau and then continue with various covers of all ages starting from 40 years with God Bless the Child by Billie Holiday; 60 Years and Bring It On Home To Me Sam Cooke of up to 80 with Everytime You Go Daryl Hall through 70 with the Summer Breeze by Seals & Crofts, until today with the presence in God Bless The Child Jill Scott and the reinterpretation of Ordinary People by John Legend. Do not miss a fitting tribute to Miles Davis with the beautiful Four . There are several featuring : I told you to Jill Scott, but there are Stanley Clarke and Marcus Miller on bass, Chris Botti on trumpet, Patti Austin, Let It Rain and Paul McCartney in Bring It On Home To Me . A rare and unique collection of sensual grooves so appealing about the classic songs of the past reinterpreted by two giants of jazz and soul. Two genes that combine their experience and their overwhelming talent in this album "Hybrid" if we aimed not only to gender but purists may be suitable even for those who have never heard of George Benson and / or Al Jarreau.
Last year I had the pleasure of seeing and hearing George Benson Live at Umbria Jazz in Perugia. Title of the evening "An Unforgettable Tribute to Nat 'King' Cole." From the title one imagines one of those unforgettable evening, where the mind of the listener is detached from the body and travels to the tune of Benson's guitar that charms the audience with his greatest hits, and that with his soulful voice whisks you away and interprets historical pieces of the great "King" Cole ... Well if you imagine it, you did the center!! define a unique and unforgettable evening that is an understatement. George appears on stage, on which the entire orchestra is ready for "Solisti di Perugia" accompanying him throughout the evening. He, elegant, starting immediately with Breezin ', then devotes the first part of his concert at the tribute to Nat Cole playing pieces like Route 66, When I Fall In Love, LOVE , concluding with Smile. I only say that at some point in the evening I was so busy, that between the workpiece and the other does not even applauded ... almost hypnotized by the voice of George Benson I turned to my only friend and we used to nod in agreement, almost in disbelief to what we were admiring. After the tribute to Nat "King" Cole began with his repertoire and has given the public pieces like Nature Boy, You Are the Love Of My Life, Give Me The Night, Never Give Up On A Good Thing and other pieces historians of his infinite repertoire. At the end of the evening I was so stunned by the sound of that coming from the Arena Benson, singing and playing my Ibanez an imaginary
in my opinion are very few artists who can boast nearly 50-year career and have a production that more than 50 albums and published hundreds of concerts all over the world and still be in business! He crossed the 60, 70, 80 and 90 to now delighting with its Ibanez GB10 custom, at least three generations of audiences, dazzling shows and albums that have marked the history of jazz.
What is difficult to classify Benson in a specific genre, it is true is mostly a jazz guitarist / blues but has also made several discs and fusion during the 80's album almost album ... I personally would call simply a guru from Jazz Academy, one that with his technique can rewrite the manual guitar best odds. In any case, it is one of the most incredible musicians I have ever seen and heard more and more surprised after listening last time.
In conjunction with a major shear zone known as M, are found several structures that have been referred to as secondary fractures called, respectively (based on the figure below):
Group T
: are the fractures or tension-type T are developing at an angle of 45 degrees from the main cut, generating systems of en echelon. They are the first structures to form and thereafter the progress of deformation, tend to assume a sigmoidal shape and then are cut off. Often the vacuum that forms the opening of the fracture is filled with calcite or, more rarely da quarzo. Importante è il tipo di mineralizzazione, a mosaico oppure fibrosa (la direzione delle fibre ci aiuta a capire la direzione di apertura se è per estensione pura oppure se ha una componente di taglio). Gruppo R:
sono compresi entro questo gruppo tutte quelle fratture secondarie che presentano una componente di taglio. Sono delle fratture di Riedel coniugate (R e R’) che presentano un angolo fra loro di 60°. Rispetto alla zona di taglio (M) le fratture R formano un angolo di 15° e il movimento è concorde a quello del taglio principale e pertanto si definiscono “fratture secondarie a basso angolo sintetiche”; le fratture R’ formano un angolo di 75° rispetto al cutting plane and the main motion is opposite and therefore we call "high-angle fractures secondary antithetic"
Group P: Included within this group are all those fractures secondary to fractures of the R-symmetric with respect to the main floor of cut (M), and have a synthetic movement. Generally form an angle of 15 ° to the main cutting surface. The criteria for determining the direction of motion of the blocks according to the secondary fractures are divided as follows (please note that the direction of movement of the blocks is the same as in previous figure):
Le fratture T presentano un angolo con il piano di faglia (M) di circa 30°;
Le fratture T possono presentarsi aperte o con riempimento di minerale (generalmente in calcite); Le fratture T possono essere incurvale, formando un angolo prossimo a 90° con la superficie di faglia (M) (fratture di tensione lunate simili a quelle provocate dai movimenti dei ghiacciai tipo rocce montonate);
Criterio RO per individuare il movimento relativo:
Sono presenti solo fratture secondarie di tipo R e R’ che mostrano la superficie striata;
Lo specchio di faglia presenta delle fratture secondarie di tipo R immergenti a basso angolo all’interno del piano di faglia (M);
Lo specchio di faglia presenta (non sempre) fratture secondari di tipo R’ immergenti ad alto angolo all’interno del piano di faglia (M); Il piano di faglia principale (M) non presenta striature;
Criterio RM
per individuare il movimento relativo:
Il piano di faglia (M) presenta delle fratture secondarie di tipo R immergenti a basso angolo all’interno del piano;
The main fault plane (M) is completely striated
fractures secondary type R can be found associated with structures lunate, defining a particular indicator called kinematic fracture crescent;
PO
criterion to identify the relative motion:
There are only minor fractures of type P;
These fractures are shown with small ribbed surfaces that look in opposite direction to the movement of the missing block; These structures are not by dipping the master fault (M);
Policy
PT to detect the relative motion:
There are P-type secondary fractures associated with minor fractures of type T;
fractures of type P streaks on their show floor, while the fractures do not show striations T;
Other indicatori del senso di movimento relativo dei blocchi di faglia sono gli elementi striatori della superficie di faglia. Tali elementi sono rappresentati da piccoli ciotoli con una durezza superiore allo specchio di faglia, e a causa della frizione tra i due blocchi, tendono a striare lo specchio di faglia e ad incunearsi al suo interno. Le striature vengono definite grooves alla cui terminazione è posizionato l’elemento striatore. La posizione finale dell’elemento striatore indica il verso del blocco mancante.
Gradini in minerali fibrosi
Sono costituiti da cristallizzazioni in minerali fibrosi (generalmente calcite) sulla superficie di faglia, in corrispondenza di irregolarità del piano di faglia stesso. Solitamente da una parte il minerale fibroso si raccorda perfettamente alla superficie della faglia, e dall’altro lato presenta un gradino, la cui alzata risulta più o meno inclinata rispetto al piano di faglia. La superficie del gradino è generalmente liscia o striata secondo il senso di movimento del blocco mancante. La polarità del gradino ed il senso di crescita delle fibre danno delle indicazioni sul verso di movimento del blocco mancante, e pertanto si può risalire alla tipologia della faglia. Nella figura sottostante vengono mostrati i gradini in minerali fibrosi (a), e con la freccia il movimento del blocco mancante (b).
BALOCCHI P. (2003); Analisi mesostrutturale e macrostrutturale delle strutture fragili presenti nelle unità del gruppo di Bismantova affioranti tra Zocca e Castel d'Aiano (Appennino modenese e bolognese). Tesi di laurea inedita. Dip. Sc. della Terra Università di Modena e Reggio Emilia.
Il piano di faglia (M) è completamente striato mentre le fratture di tipo T non sono striate; 
