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Diamanda Galás

Diamanda Galás (born August 29, 1955) is an American musician, singer-songwriter, and visual artist. She has campaigned for AIDS education and the rights of the infected.

Galás's commitment to addressing social issues and her involvement in collective action has made her concentrate on themes such as AIDS, mental illness, despair, loss of dignity, political injustice, historical revisionism, and war crimes. Galás has attracted the attention of the press particularly for her voice – a soprano sfogato – and written accounts that describe her work as original and thought-provoking refer to her as "capable of the most unnerving vocal terror", an "aesthetic revolutionary", "a mourner for the world's victims" and "an envoy of risk, honesty and commitment".

As a composer, pianist, organist and performance artist, Galás has presented mainly her own work, but her live performances have also included works by other musicians, such as the avant-garde composers Iannis Xenakis and Vinko Globokar, jazz musician Bobby Bradford, saxophonist John Zorn, and Led Zeppelin bassist John Paul Jones. Galás's recordings have also included collaborations, some of which are with the bands Recoil and Erasure, instrumentalist Barry Adamson, and musician Can Oral (also known as Khan), among others.

Background and education
Galás was born and raised in San Diego, California, to a Maniot Greek-American mother from Dover, New Hampshire, Georgianna Koutrelakos-Galás, and an Egyptian-American father from Lynn, Massachusetts, James Galás, both of whom belonged to the Greek Orthodox culture but considered themselves agnostic. Her father's Greek ancestors were from Smyrna, Pontus, and Chios, while one of his grandmothers was an Egyptian from Alexandria. Galás does not refer to her Smyrniote and Pontic ancestry as "Turkish", but rather as Anatolian.

Galás's first contact with music was during her childhood in San Diego, where her parents lived and worked as teachers. Her father, who was also a gospel choir director, taught her how to play the piano when she was three years old, while introducing her later to classical music, the New Orleans jazz tradition, rebetika and other classics of his Greek heritage, some blues standards, and other historical music genres. Galas also took cello and violin lessons, and studied a wide range of musical forms. By the age of fourteen, she had been playing gigs in San Diego with her father's band, performing Greek and Arabic music, and she had also made her orchestral debut with the San Diego Symphony as the soloist for Beethoven's Piano Concerto No. 1. But while her father encouraged her to play the piano, he did not want her to sing because he believed that singing was for "hookers and idiots."

Galás and her brother Phillip-Dimitri acquired a taste for dark literature at an early age. Their inspirations were the Marquis de Sade, Friedrich Nietzsche, Antonin Artaud, and Edgar Allan Poe.

In the 1970s, Galás studied biochemistry at the University of Southern California, specializing in immunology and hematology studies. Her post-graduate studies include a master's program in the music department of the University of California, San Diego, which encouraged her to work at its Center for Music Experiment to develop her own vocal technique. Outside academia, Galás's vocal training was supported by private lessons in San Diego with bel canto tutor Frank Kelly, and with voice coaches Vicky Hall in Berlin and Barbara Maier Gustern in New York.

Early years (1970s–1986)
In the early 1970s, Galás and her friend contra-bass player Mark Dresser joined the jazz band Black Music Infinity, which included drummer Stanley Crouch, trumpeter Bobby Bradford, cornetist Butch Morris, flutist James Newton, and saxophonist David Murray. She later collaborated with members of the San Diego band CETA VI, which included, among others, jazz saxophonist Jim French, with whom Galás went on to record and release her first compositions, as part of the album If Looks Could Kill (1979), together with guitarist and sound engineer Henry Kaiser.

At the same time, Galás was preparing for her live solo debut, which took place at the 1979 Festival d'Avignon, in France, where she was doing post-graduate studies. It was a performance of Vinko Globokar's Un Jour Comme un Autre (A Day Like Any Other), an opera based on Amnesty International's documentation about the arrest and torture of a Turkish woman for alleged treason. Globokar was the director of the Instruments and Voice department at the music and sound research center IRCAM (Institut de Recherche et Coordination Acoustique/Musique), where Galás had been doing further experimentation on her vocal technique. During her time in Paris, Galás also met the Greek composer and architect Iannis Xenakis, whose composition Akanthos (1977) she sang with IRCAM's Ensemble InterContemporain in 1980, while she was still in Europe. After her return to the US, Galás performed one more work by Xenakis, his composition N'Shima (1975), in the US premiere of it in New York in 1981, alongside soprano Genevieve Renon-McLaughlin, who sang one of the two vocal parts of this piece.

Her first solo album, The Litanies of Satan (1982), was also an operatic work. It included only two compositions: a twelve-minute piece entitled 'Wild Women with Steak-Knives', which was described by Galás in the album notes as tragedy-grotesque deriving from her work "Eyes Without Blood", and another lengthy composition, 'Litanies of Satan', an adaptation to music of a section from Charles Baudelare's poem Les Fleurs du Mal. Her second album, Diamanda Galas (1984), also contained two lengthy compositions. They were 'Panoptikon', which was dedicated to Jack Henry Abbott, whose 1981 autobiographical book In the Belly of the Beast described his experience of the prison system, and 'Tragoudia Apo To Aima Exoun Fonos' ('Song From the Blood of Those Murdered'), a Greek-language piece dedicated to those political prisoners who were either murdered or executed during the Greek military regimes in the years 1967–74.

Mute Records (1986–2008)
Galás began writing and performing on the subject of AIDS around 1984, while living in San Francisco. This theme resulted in the trilogy Masque of the Red Death, an operatic trilogy which included The Divine Punishment (1986), Saint of the Pit (1986) and You Must Be Certain of the Devil (1988). In these three works Galás detailed the suffering of people with AIDS. Shortly after the recording of the trilogy's first volume began, her brother, playwright Philip-Dimitri Galás, became sick with AIDS, which inspired her to join activist groups that raised awareness about this new illness. Her brother died in 1986, just before the completion of the trilogy.

Taking a break from her own recordings, Galás appeared on the 1989 studio album Moss Side Story by Barry Adamson (formerly of Magazine and Nick Cave and the Bad Seeds). In Moss Side Story, which was described by the press as a "soundtrack for a non-existent film-noir", Galás sang the opening track, 'On the Wrong Side of Relaxation'. In 1992, Galás released the album Vena Cava, a series of unaccompanied voice pieces recorded in New York during a live performance at The Kitchen. For her next record, Galás changed stylistic direction by turning to the blues tradition and interpreting a wide range of songs with only a piano and solo voice. This stylistic turn produced the studio album The Singer (1992), on which she covered songs by Willie Dixon, Roy Acuff, and Screamin' Jay Hawkins, as well as "Gloomy Sunday", a song written by Hungarian pianist and composer Rezső Seress in 1933 and translated into English by Desmond Carter. This material formed the basis of the video Judgement Day, which was released in 1993.

In the next three years, Galás returned to collaborations with other musicians. She first worked with Led Zeppelin bassist John Paul Jones, a longtime admirer of her work, to write material for a record, and the album The Sporting Life was produced with him in 1994. A tour that followed the album's release saw the two musicians performing together live on stage as well as on the popular MTV show The Jon Stewart Show. Then, in the same year, two of Galás's songs from her previous album were featured on the soundtrack for Oliver Stone's film Natural Born Killers. In 1995, Galás contributed vocals to the eponymous album of British synth-pop duo Erasure at the invitation of the lead singer, Andy Bell, and the following year she took part in the album Closed on Account of Rabies, a tribute to Edgar Allan Poe which also included Iggy Pop, Debbie Harry and Marianne Faithfull, who lent their voices to the tales of the legendary author. Galás' reading of "The Black Cat" was the longest recording on the compilation.

In 1998, Galás released Malediction and Prayer, which was recorded live in 1996 and 1997. In 2000, Galás worked with Recoil by contributing her voice to the album Liquid. She was the lead vocalist on the album's first single, "Strange Hours", for which she also wrote the lyrics, and can be heard on "Jezebel" and "Vertigen" as a backing vocalist.

Galás's next project revolved around the Armenian, Anatolian-Greek and Assyrian genocides that occurred between 1914 and 1923. This work took the title 'Defixiones – Will and Testament' in reference to the last wishes of the dead who had been taken to their graves under extreme circumstances, as 'defixiones' in Greece and Asia Minor is associated with the warnings written on gravestones by relatives of the dead to warn people against desecrating them. This material formed part of the 80-minute long album Defixiones: Will and Testament (2003), which was released simultaneously with La Serpenta Canta (2003), a live album including cover versions recorded between May 1999 and November 2002. One of the unaccompanied vocal pieces from Defixiones: Will and Testament (2003), "Orders from the Dead", was later used on the album Aealo (2010) by Greek black metal band Rotting Christ.

In 2008, Galás released her seventh live album, Guilty Guilty Guilty, a collection of cover songs that she used to play as a piano accompanist in her father's band when she was young. The album emerged from material she began to work on around the time when her parents – to whom it is dedicated – happened to stay in the same hospital at the same time for different treatments; seeing how they handled it and how they held hands and took courage from each other during that time reminded her of the love songs she had learned in her father's band. Galás has stated that these songs also made her explore her own emotions at a time when a long-term personal relationship had ended, particularly Henderson's and Brown's "The Thrill Is Gone", a song performed by Chet Baker and others. This set of new re-interpretations of old, love songs was recorded live at Galás's Valentine's Day concert at New York's Knitting Factory in 2006.

Intravenal Sound Operations (2009–present)
After 2009 Galás found herself without a record deal, and until 2016 she was remixing and remastering her earlier works as well as recording some new songs which were made available online digitally as self-released singles. Galás's focus in this period was on regaining ownership and control of her entire catalogue, since the selling of her records by Mute to EMI, which passed them to BMG, had made Galás's back catalogue unavailable. In the meantime, two new albums, All the Way (2017) and At Saint Thomas the Apostle Harlem (2017), were released simultaneously through her own label, Intravenal Sound Operations, and a world tour followed.

In 2019, Galás regained the rights of her back catalogue and her discography was made available again. The result was the release of a remastered version of her debut album The Litanies of Satan (1982), which had been originally released on Y Records. This was followed by the 21-minute piano work De-formation: Piano Variations (2020), which was based on music for the 1912 poem Das Fieberspital (The Fever Hospital) by the German expressionist writer Georg Heym. As work on remastering her previous releases continued, Galás made available another two remastered works: her albums Diamanda Galas (1984) and The Divine Punishment (1986), which came out in October 2021 and in June 2022 respectively.

In August 2022, Galás released the studio album Broken Gargoyles. The first incarnation of the work was played in July 2021 as a sound installation at the Nikolaikapelle (former Kapellen Leprosarium - Leper Sanctuary) in Hanover, Germany. Earlier versions had been performed at the Dark Mofo festival and other live music events, and sections of it had also been included in different multi-media installations. The inspiration came from a pre-First World War poem by the German poet Georg Heym that Galás came across in a book about German expressionist art and poetry. This led her to other cultural artefacts from the period, including a 1924 book by anti-war campaigner Ernst Friedrich of photographs showing soldiers with damaged faces, which were also responsible for the album title, as 'gargoyles' was a term used by hospital staff to refer to those soldiers. The album comprises two long pieces titled 'Mutilatus' and 'Abiectio'.

On 14 June 2024, a new album of live recordings was released. Titled Diamanda Galás in Concert (2024), it contained a selection of songs from her 2017 performances at Thalia Hall in Chicago and Neptune Theatre in Seattle. They were both previously unreleased songs as well as different versions of material from earlier albums. In July 2024, it was announced that Galás would release, in September 2024, a remastered version of her album Saint of the Pit (1986).

Performance art
Although Galás found herself in the mid-70s studying and practicing music and performance in the West Coast, where performance artists tended to be much more reliant on text and closer to the theatrical event than their European and East-Coast counterparts, her use of text did not restrict her performances to a script, as her introduction of electronically processed sounds shifted her attention towards vocal improvisation to allow more freedom. Her first public performances at New York's The Kitchen and the 1980 Moers Festival reflect this direction, and works such as 'Wild Women with Steak-Knives' and 'Panoptikon', which were developed in this period and used heavily the improvisation element and vocal experimentation, were later recorded and released as music records for her first two solo albums in 1982 and 1984 respectively.

In 1990, Galás selected material from her AIDS trilogy and created a performance piece for the Cathedral of St. John the Divine in New York. With a theme addressing the Roman Catholic Church's indifference to sufferers of HIV and Galás's introduction of theatrical props, such as artificial blood and special lights, her performance, for some members of her audience, "combined ululating shrieks, whispers and howls with an intensity that left the audience stunned." The performance was documented in photographs and audio, and a live album was released under the title Plague Mass in 1991.

Painting
Galás has stated that, for her, painting acts as "an exorcism of that which is troubling [her] deeply", and that the visual language she uses allows her "to paint an analogue of the experience, the misery, and therefore get rid of it for the time being. But only because of that vocabulary", she adds. Commentators suggest that Galás's paintings look to the past by presenting stylistic similarities with artworks by Expressionist artists such as Edvard Munch, Paul Klee and Jean Dubuffet. One of the Expressionist artists that Galás mentions as influential to her is the Austrian painter and playwright Oskar Kokoschka, especially with his short play Murderer, the Hope of Women (1909), which has very little text but creates 'explosions' by being immensely expressive. Galás has also been compared to the artist David Wojnarowicz, whose work is seen as falling within the wider limits of neo-expressionism, for the similarities in which they invite horror through immediate and explicit expression. For Galás, the visual art that she does "has the same impulse and subject material" as her music, because she cannot interrupt the creative process when working on a subjects, "so these are simply different treatments of similar subjects." Many of Galás's paintings often borrow their subjects from themes she has explored in her performances and recordings, looking back to the same historical events that have been inspiring her to write lyrics and compose music, as is made apparent by the use of titles such as 'Ragip:Turkish Prison for Infidels', 'Medusa', 'Artemis', Cleopatra', 'Mani: Me Epifilakzin – Salt Maketh A Man Who Fears No God' and 'Ethiopian Martyr/Amharic Brother to Greek Orthodox, Egyptian Coptic and Palestinian Orthodox', among others.

In 2011, Galás donated a painting to the Coilhouse International Fundraising Silent Auction, which was part of The Black & White & Red All Over Ball organized by New York's digital and print magazine, and corresponding blog, Coilhouse. Galás's work was a luminescent, or a 'glow-in-the-dark fabric painting', as described by the magazine editors, featuring "mysterious and ferocious organic shapes painted on a thick piece of black fabric and adorned with a bright prism″.

Installation
In 1988, Galás provided the music to the audiovisual installation Faded Wallpaper (1988) by British artist Tina Keane, which included a neon sign and a video work that featured, among other material, extracts from Charlotte Perkins Gilman's 1892 story 'The Yellow Wallpaper'.

In 2010, a four-minute video artwork entitled A Fire in My Belly (1992), which was made using a composition by Galás from her album Plague Mass (1991) and a film by the artist David Wojnarowicz, was featured in the exhibition Hide/Seek at Smithsonian's National Portrait Gallery. The artwork was deemed by some groups to be controversial and it was removed from that show, with Galas immediately responding to the Smithsonian's removal with a written statement that was circulated in the press.

In 2011, Galás collaborated with Soviet dissident artist Vladislav Shabalin on Aquarium, a sound installation inspired by the environmental disaster in the Gulf of Mexico. The event took place at Leonhardskirche in Basel (Switzerland) from June 12 to 19. Aquarium was then installed at the church of San Francesco in Udine (Italy), at the festival "Vicino/Lontano", from May 9 to 12, 2013.

In July 2020, Galás presented via Fridman Gallery's online space a work inspired by poetry and visuals related to physical and mental scars in soldiers who were injured in the First World War. With collaborators such as artist and sound engineer Daniel Neumann, video artist Carlton Bright, and artist Robert Knocke on a guest appearance, Galás produced 'Broken Gargoyles', an installation based on the words of German poet Georg Heym and on photographs by Ernst Friedrich.

Films
In 1984, Galás made a voice cameo appearance, performing the voices for the Japanese assassins and flying weapons in Cannon Films' Ninja III: The Domination. This was followed by three more film appearances: she made the voice of the witch in John Milius's Conan the Barbarian (1982 film), the voice of the dead in Wes Craven's film The Serpent and the Rainbow, and also offered her voice to Francis Ford Coppola's 1992 film, Bram Stoker's Dracula, adding erotically charged moans, breathless sighs, and high-pitched shrieks. She also contributed the song "Exeloume" to the film. In 1995, Galás was commissioned to record a cover version of the Schwartz-Dietz song "Dancing in the Dark" for Clive Barker's film Lord of Illusions, and her song appeared during the closing credits.

While two of her earlier recordings, "Le Treizième Revient" and "Exeloume", appeared on the soundtrack to Derek Jarman's The Last of England (1987), Galás herself also made an appearance in a film, as in 1990 she took part in Rosa von Praunheim's documentary Positive about AIDS in the New York gay scene.

In 2011, Galás premiered Schrei 27, a film made in collaboration with Italian filmmaker Davide Pepe. It was based on Schrei X, a 1994 radio piece which was a co-commission to Galás by New American Radio and the Walker Art Center, and it has been described as an "unrelenting" portrait of a body suffering torture in a medical facility.

Most recently, Galás contributed work to James Wan's 2013 horror film, The Conjuring, and her composition "Free Among the Dead" from the album The Divine Punishment (1986) was featured in Zoe Mavroudi's documentary, Ruins: Chronicle of an HIV Witch-Hunt (2013).

Awards
In 2005, Galás was awarded Italy's prestigious Demetrio Stratos International Career Award.

Activism
In 1986, Galás's brother, playwright Philip-Dimitri Galás, died from AIDS, and this inspired her to join the AIDS activist group ACT UP. Her subsequent involvement in ACT UP's Stop the Church demonstration resulted in her arrest on December 10, 1989, inside Saint Patrick's Cathedral. The group was protesting Cardinal O'Connor's opposition to AIDS education and to the distribution of condoms in public schools. She was among 53 people arrested that day.

Cultural references
Galás was mentioned in Michael Kustow's autobiographical book One in Four (1987), which uses the form of a journal to tell the author's story for the year 1986, when he was working as a Commissioning Editor for the Arts in the British TV station Channel Four. Galás's name does not appear directly in the book, but several references to her are made in a conversation between the author and the owner of the independent music label Some Bizzare Records Stevo Pearce, such as the use of cutting-edge technology in her live performances, her singing technique, and her Greek heritage. The following dialogue between these two persons illustrates best how this is an indirect mention of Galás: My label's called Some Bizzare. ... I've got the best f***ing TV show you'll ever see. Drama, video art, music, films made by the bands themselves. You'll get ratings. Innovation? I can give Channel Four all the innovation it wants. Greek singer, for example. She wears twenty contact microphones round her body, like necklaces, she's an opera singer, it's pure unaccompanied transformed voice. It'll drive your viewers crazy!

Critical analyses
Musicologist Susan McClary has written about Galás in her study Feminist Endings: Music, Gender, and Sexuality (2002). McClary looks at Galás's work in a discussion about the representation of women in famous operas as an example of how Galás's approach confronts the narrow portrayal of women in those works and how she renovated the operatic tradition with subjects created through enactment.

Art historian Nicholas Chare discusses the concert performance Todesfuge (Death's Fugue) by Diamanda Galás in his study Auschwitz and Afterimages: Abjection, Witnessing and Representation (2011). Chare is interested in the Holocaust and representations of it in painting, photography, musical performance and museum artefacts, so in the section where he examines how Galás has transformed the words in the poem Todesfuge, which was written by the Romanian-born German-language poet Paul Celan, he looks at her work to investigate the relationship between style and horror in music, poetry and art.

Influences
Galás has cited multiple artists as influences on her music, including Maria Callas, Annette Peacock, Patty Waters, John Lee Hooker, Johnny Cash, Ray Charles, and Jimi Hendrix. She is additionally influenced greatly by Greek and Middle Eastern styles of singing, and also blues music. Galás has also expressed admiration for the comedian Don Rickles, who she has called "my hero", as well as the work of poets such as Henri Michaux and Georg Heym, and an array of other musicians, including Chet Baker, Doris Day, The Supremes, Gladys Knight, Miki Howard, Whitney Houston, Amy Winehouse and Adele.

Discography
Studio albums
 * 1979 – If Looks Could Kill (w/Jim French and Henry Kaiser)
 * 1982 – The Litanies of Satan
 * 1984 – Diamanda Galas
 * 1986 – The Divine Punishment
 * 1986 – Saint of the Pit
 * 1988 – You Must Be Certain of the Devil
 * 1992 – The Singer
 * 1994 – The Sporting Life (w/John Paul Jones and Pete Thomas)
 * 2003 – Defixiones: Will and Testament
 * 2017 – All the Way
 * 2020 – De-formation: Piano Variations (EP)
 * 2022 – Broken Gargoyles

Live performance albums
 * 1991 – Plague Mass (1984 - End of the Epidemic)
 * 1993 – Vena Cava
 * 1996 – Schrei x
 * 1998 – Malediction and Prayer
 * 2003 – La serpenta canta
 * 2008 – Guilty Guilty Guilty
 * 2017 – At Saint Thomas the Apostle Harlem
 * 2024 - Diamanda Galás In Concert

Compilation albums
 * 1988 - The Divine Punishment & Saint of the Pit
 * 1988 – Masque of the Red Death (The Divine Punishment, Saint of the Pit & You Must Be Certain of the Devil)

Singles
 * 1988 - Double-Barrel Prayer
 * 1994 - Do You Take This Man? (with John Paul Jones)
 * 2009 - A Soul That's Been Abused
 * 2009 - Gloomy Sunday
 * 2009 - Pardon Me, I've Got Someone To Kill
 * 2009 - You Don't Know What Love Is
 * 2009 - O Death
 * 2009 - I Put A Spell On You (with Digitalism)
 * 2010 - The Black Cat
 * 2010 - Tengo que Subir al Puerto (Canto de las Montañas)
 * 2010 - Fernand
 * 2010 - All The Way
 * 2010 - Orders From The Dead (with Rotting Christ)
 * 2011 - Άνοιξε Πέτρα (Anoixe Petra)
 * 2011 - Birds Of Death
 * 2011 - La Sierra de Armenia
 * 2011 - Clash Of The Titans (with Choronzon)
 * 2021 - Die Stunde Kommt (Live At The Murmrr Theater Brooklyn 2017)

Long-form videos

 * 1986 – The Litanies of Satan (VHS)
 * 1993 – Judgement Day (VHS)

Promotional videos

 * 1988 – Double-Barrel Prayer
 * 1994 – Do You Take This Man?

Books

 * 1996 – The Shit of God. London and New York: High Risk/Serpent's Tail, 1996.
 * 2017 – "Morphine & Others", featured in Outside: An Anthology, edited by Doron Hamburger & Amir Naaman. Berlin: Ash Pure Press, 2017.

title: Diamanda Galás


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Tango

Tango is a partner dance and social dance that originated in the 1880s along the Río de la Plata, the natural border between Argentina and Uruguay. The tango was born in the impoverished port areas of these countries from a combination of Argentine Milonga, Spanish-Cuban Habanera, and Uruguayan Candombe celebrations. It was frequently practiced in the brothels and bars of ports, where business owners employed bands to entertain their patrons. It then spread to the rest of the world. Many variations of this dance currently exist around the world.

On August 31, 2009, UNESCO approved a joint proposal by Argentina and Uruguay to include the tango in the UNESCO Intangible Cultural Heritage Lists.

History
Tango is a dance that has influences from African and European culture. Dances from the Candombe ceremonies of former African enslaved people helped shape the modern day tango. The dance originated in working-class districts of Buenos Aires and Montevideo. The music derived from the fusion of various forms of music from Europe. The words "tango" and "tambo" around the River Plate basin were initially used to refer to musical gatherings of slaves, with written records of colonial authorities attempting to ban such gatherings as early as 1789.

Initially, it was just one of the many dances, but it soon became popular throughout society, as theatres and street barrel organs spread it from the suburbs to the working-class slums, which were packed with hundreds of thousands of European immigrants.

When the tango began to spread internationally around 1900, cultural norms were generally conservative, and so tango dancing was widely regarded as extremely sexual and inappropriate for public display. This led to a phenomenon of culture shock. Additionally, the combination of African, Native American and European cultural influences in tango was new and unusual to most of the Western world.

Many neighbourhoods of Buenos Aires have their particular tango histories: for example La Boca, San Telmo and Boedo. At Boedo Avenue, Cátulo Castillo, Homero Manzi and other singers and composers used to meet at the Japanese Cafe with the Boedo Group. In the early years of the 20th century, dancers and orchestras from Buenos Aires travelled to Europe, and the first European tango craze took place in Paris, soon followed by London, Berlin, and other capitals. Tango historian Nardo Zalko, a native of Buenos Aires who lived most of his life in Paris, investigated the mutual fertilization between the two cities in his work, Paris – Buenos Aires, Un Siècle de Tango ("A Century of Tango"). Towards the end of 1913, it hit New York City as well as Finland. In the U.S., around 1911, the word "tango" was often applied to dances in a or  rhythm such as the one-step. The term was fashionable and did not indicate that tango steps would be used in the dance, although they might be. Tango music was sometimes played but at a rather fast tempo. Instructors of the period would sometimes refer to this as a "North American tango", versus the so-called "Argentine tango". The tango was controversial because of its perceived sexual overtones and, by the end of 1913, the dance teachers who had introduced the dance to Paris were banished from the city. By 1914, more authentic tango stylings were soon developed, along with some variations like Albert Newman's "Minuet" tango.

In Argentina, the onset in 1929 of the Great Depression, and restrictions introduced after the overthrow of the Hipólito Yrigoyen government in 1930, caused a temporary decline in tango's popularity. Its fortunes were reversed later in the 1930s, and tango again became widely fashionable and a matter of national pride under the first Perón government, which in turn had a major effect on Argentinian culture overall. Mariano Mores played a role in the resurgence of the tango in 1950s Argentina. Mores's Taquito Militar was premiered in 1952 during a governmental speech by President Juan D. Perón, which generated a strong political and cultural controversy between different views of the concepts of "cultured" music and "popular" music, as well as the links between both "cultures".

Tango declined again in the late 1950s, as a result of economic depression and the banning of public gatherings by the military dictatorships; male-only tango practice—the custom at the time—was considered "public gathering". That, indirectly, boosted the popularity of rock and roll because, unlike tango, it did not require such gatherings. However, in the late 1980s the tango again experienced a resurgence in Argentina, partly due to the endeavors of Osvaldo Peredo.

In 2009, the tango was added to the UNESCO Intangible Cultural Heritage Lists.

Etymology
There are several theories regarding the origin of the word tango, none of which has been proven. An African culture is often credited as the creator of this word; in particular, it is theorized that the word derives from the Yoruba word shangó, which refers to Shango, the God of Thunder in traditional Yoruba religion. This theory suggests that the word “shangó” was morphed through the dilution of the Nigerian language once it reached South America via slave trade. According to an alternative theory, tango is derived from the Spanish word for "drum", tambor. This word was then mispronounced by Buenos Aires’ lower-class inhabitants to become tambo, ultimately resulting in the common tango. It is also sometimes theorized that the word is derived from the Portuguese word tanger, which means "to play a musical instrument". Another Portuguese word, tangomão, a combination of the verb tanger ("to touch") with the noun mão ("hand") meaning "to play a musical instrument with one's hands", has been suggested as the etymon of tango.

According to some authors, tango is derived from the Kongo word ntangu which means "sun", "hour", "space-time".

Styles
The tango consists of a variety of styles that developed in different regions and eras of Argentina, as well as in other locations around the world. The dance developed in response to many cultural elements, such as the crowding of the venue and even the fashions in clothing. The styles are mostly danced in either open embrace, where lead and follow have space between their bodies, or close embrace, where the lead and follow connect either chest-to-chest (Argentine tango) or in the upper thigh, hip area (American and International tango).

Different styles of tango are: These are danced to several types of music:
 * Tango argentino
 * Tango canyengue
 * Tango fantasia
 * Tango liso
 * Tango oriental
 * Tango orillero
 * Tango salon
 * Tango camacupense (Angola)
 * Tango milonguero (tango apilado) (see also "Milonguero")
 * Tango nuevo (new tango)
 * Tango vals (Tango waltz)
 * Milonga
 * Ballroom tango
 * Finnish tango
 * Uruguayan tango
 * Maxixe (Brazilian tango)
 * Tango
 * Electronic tango-inspired music (Tango electronico)
 * "Alternative tango", i.e. music that is an alternative to tango, or non-tango music employed for use in tango-inspired dance

The milonguero style is characterized by a very close embrace, small steps, and syncopated rhythmic footwork. It is based on the petitero or caquero style of the crowded downtown clubs of the 1950s.

In contrast, the tango that originated in the family clubs of the suburban neighborhoods (Villa Urquiza/Devoto/Avellaneda etc.) emphasizes long elegant steps, and complex figures. In this case the embrace may be allowed to open briefly, to permit the execution of the complex footwork.

The complex figures of this style became the basis for a theatrical performance style of tango seen in the touring stage shows. For stage purposes, the embrace is often open, and the complex footwork is augmented with gymnastic lifts, kicks, and drops.

A newer style sometimes called tango nuevo or 'new tango' has been popularized in recent years by a younger generation of dancers. The embrace is often quite open and very elastic, permitting the leader to lead a large variety of very complex figures. This style is often associated with those who enjoy dancing to jazz- and techno-tinged "alternative tango" music, in addition to traditional tango compositions.

Tango canyengue
Tango canyengue is a rhythmic style of tango that originated in the early 1900s and is still popular today. It is one of the original roots styles of tango and contains all fundamental elements of traditional Tango from the River Plate region (Uruguay and Argentina). In tango canyengue the dancers share one axis, dance in a closed embrace, and with the legs relaxed and slightly bent. Tango canyengue uses body dissociation for the leading, walking with firm ground contact, and a permanent combination of on- and off-beat rhythm. Its main characteristics are its musicality and playfulness. Its rhythm is described as "incisive, exciting, provocative".

The complex figures of this style became the basis for a theatrical performance style of Tango seen in the touring stage shows. For stage purposes, the embrace is often very open, and the complex footwork is augmented with gymnastic lifts, kicks, and drops.

Tango nuevo
A newer style sometimes called tango nuevo or 'new tango' was popularized after 1980 by a younger generation of musicians and dancers. Ástor Piazzolla, composer and virtuoso of the bandoneón (so-called "tango accordion") played a major role in the innovation of traditional tango music. The embrace is often quite open and very elastic, permitting the leader to initiate a great variety of very complex figures. This style is often associated with those who enjoy dancing to jazz- and techno-tinged, electronic and alternative music inspired in old tangos, in addition to traditional Tango compositions.

Tango nuevo is largely fueled by a fusion between tango music and electronica, though the style can be adapted to traditional tango and even non-tango songs. Gotan Project released its first tango fusion album in 2000, quickly following with La Revancha del Tango in 2001. Bajofondo Tango Club, a Rioplatense music band consisting of seven musicians from Argentina and Uruguay, released their first album in 2002. Tanghetto's album Emigrante (electrotango) appeared in 2003 and was nominated for a Latin Grammy in 2004. These and other electronic tango fusion songs bring an element of revitalization to the tango dance, serving to attract a younger group of dancers.

New tango songs
In the second half of the 1990s, a movement of new tango songs was born in Buenos Aires. It was mainly influenced by the old orchestra style rather than by Piazzolla's renewal and experiments with electronic music. The novelty lies in the new songs, with today's lyrics and language, which find inspiration in a wide variety of contemporary styles.

In the 2000s, the movement grew with prominent figures such as the Orquesta Típica Fernandez Fierro, whose creator, Julian Peralta, would later start Astillero and the Orquesta Típica Julián Peralta. Other bands also have become part of the movement such as the Orquesta Rascacielos, Altertango, Ciudad Baigón, as well as singer and songwriters Alfredo "Tape" Rubín, Victoria di Raimondo, Juan Serén, Natalí de Vicenzo and Pacha González.

Ballroom tango

Ballroom tango, divided in recent decades into the "International" and "American" styles, has descended from the tango styles that developed when the tango first went abroad to Europe and North America. The dance was simplified, adapted to the preferences of conventional ballroom dancers, and incorporated into the repertoire used in International Ballroom dance competitions. English tango was first codified in October 1922, when it was proposed that it should only be danced to modern tunes, ideally at 30 bars per minute (i.e. 120 beats per minute – assuming a measure).

Subsequently, the English tango evolved mainly as a highly competitive dance, while the American tango evolved as an unjudged social dance with an emphasis on leading and following skills. This has led to some principal distinctions in basic technique and style. Nevertheless, there are quite a few competitions held in the American style, and of course mutual borrowing of technique and dance patterns happens all the time.

Ballroom tangos use different music and styling from the tangos from the River Plata region (Uruguay and Argentina), with more staccato movements and the characteristic head snaps. The head snaps are totally foreign to Argentine and Uruguayan tango, and were introduced in 1934 under the influence of a similar movement in the legs and feet of the tango from the River Plate, and the theatrical movements of the pasodoble. This style became very popular in Germany and was soon introduced to England. The movements were very popular with spectators, but not with competition judges.

Finnish tango
Tango arrived in Finland in 1913. The tango spread from the dominant urban dance form to become hugely popular across Finland in the 1950s after World War I and World War II. The melancholy tone of the music reflects the themes of Finnish folk poetry; Finnish tango is almost always in a minor key.

The tango is danced in very close full thigh, pelvis and upper body contact in a wide and strong frame, and features smooth horizontal movements that are very strong and determined. Dancers are very low, allowing long steps without any up and down movement, although rises and falls are optional in some styles. Forward steps land heel first except when descending from a rise, and in backward steps dancers push from the heel. In basic steps, the passing leg moves quickly to rest for a moment close to the grounded leg. Dips and rotations are typical. There is no open position, and typically feet stay close to the floor, except in dips the follower might slightly raise the left leg. Unlike in some Argentine-Uruguayan tango styles, in Finnish tango there is no kicking of any kind, and there are no aerials.

The annual Finnish tango festival Tangomarkkinat draws over 100,000 tango fans to the central Finnish town of Seinäjoki; the town also hosts the Tango Museum.

Comparison of techniques
Argentine-Uruguayan and ballroom tango use very different techniques. In Argentine and Uruguayan tango, the body's center moves first, then the feet reach to support it. In ballroom tango, the body is initially set in motion across the floor through the flexing of the lower joints (hip, knee, ankle) while the feet are delayed, then the feet move quickly to catch the body, resulting in snatching or striking action that reflects the staccato nature of this style's preferred music.

In tango, the steps are typically more gliding, but can vary widely in timing, speed, and character, and follow no single specific rhythm. Because the dance is led and followed at the level of individual steps, these variations can occur from one step to the next. This allows the dancers to vary the dance from moment to moment to match the music (which often has both legato and/or staccato elements) and their mood.

The Tango's frame, called an abrazo or "embrace", is not rigid, but flexibly adjusts to different steps, and may vary from being quite close, to offset in a "V" frame, to open. The flexibility is as important as is all movement in dance. The American Ballroom Tango's frame is flexible too, but experienced dancers frequently dance in closed position: higher in the elbows, tone in the arms and constant connection through the body. When dancing socially with beginners, however, it may be better to use a more open position because the close position is too intimate for them. In American Tango open position may result in open breaks, pivots, and turns which are quite foreign in Argentine tango and International (English) tango.

There is a closed position as in other types of ballroom dance, but it differs significantly between types of tango. In Tango from the River Plata region, the "close embrace" involves continuous contact at the full upper body, but not the legs. In American Ballroom tango, the "close embrace" involves close contact in the pelvis or upper thighs, but not the upper body. Followers are instructed to thrust their hips forward, but pull their upper body away and shyly look over their left shoulder when they are led into a "corte".

In tango from the River Plate region, the open position, the legs may be intertwined and hooked together, in the style of Pulpo (the Octopus). In Pulpo's style, these hooks are not sharp, but smooth ganchos.

In tango from the River Plate, the ball or toe of the foot may be placed first. Alternatively, the dancer may take the floor with the entire foot in a cat-like manner. In the international style of tango, "heel leads" (stepping first onto the heel, then the whole foot) are used for forward steps.

Ballroom tango steps stay close to the floor, while the River Plate tango (Uruguayan and Argentine) includes moves such as the boleo (allowing momentum to carry one's leg into the air) and gancho (hooking one's leg around one's partner's leg or body) in which the feet travel off the ground. Both Uruguayan and Argentine tango features other vocabulary foreign to ballroom, such as the parada (in which the leader puts his foot against the follower's foot), the arrastre (in which the leader appears to drag or be dragged by the follower's foot), and several kinds of sacada (in which the leader displaces the follower's leg by stepping into her space).

Famous tango singers

 * Carlos Acuña   (1915–1999) was known for his deep, high and expressive voice. His foreign travels brought him success in Uruguay, Mexico, Italy and Spain, where he became a close friend of the exiled Juan Perón.
 * Néstor Fabián
 * Carlos Gardel
 * Roberto Goyeneche
 * Julio Sosa (1926–1964) from Uruguay was one of the most important tango singers during tango's unhappy years in the 1950s and early 1960s. His passion for poetry led to his sole published book; his passion for fast cars led to his young death.
 * Olavi Virta
 * Reijo Taipale
 * Eino Grön
 * Tita Merello
 * Edmundo Rivero
 * Pyotr Leschenko

Tango influence
Music and dance elements of tango are popular in activities related to gymnastics, figure skating, synchronized swimming, etc., because of its dramatic feeling and its cultural associations with romance.

For the 1978 FIFA World Cup in Argentina, Adidas designed a ball and named it Tango, likely a tribute to the host country of the event. This design was also used in 1982 FIFA World Cup in Spain as Tango Málaga, and in 1984 and 1988 UEFA European Football Championships in France and West Germany.

In society
Tango appears in different aspects of society: regular milongas and special festivals. A very famous festival is the Tango Buenos Aires Festival y Mundial in Buenos Aires also known as World tango dance tournament. On a regional level there are also many festivals inside and outside of Argentina. One local festival outside Argentina is Buenos Aires in the Southern Highlands in Australia.

Gender and tango
Typically the tango is performed between a man and a woman; however, the two have very different aspirations within the tango. Women often looked to the tango to help them gain confidence and to help them find a potential relationship. Men, however, looked to the tango for intimate reasons, and were known to be flirty and sexually willing. Women, however, were primarily focused on the dance itself and became wealthy. As time went on and the tango culture changed, women and men often wanted to travel and compete and also teach tango classes and then both women and men are viewed as equals.

Gender roles also plays a big part in the mechanics of tango due to the tango needing a leader. But in more recent times this is being challenged due to woman not wanting to be dependent on the male for the dance. In the early 1900s, there were often more male dancers than female so the dance was performed between two men. This allowed for both men to learn the leading and following roles of tango and adapt to both lead equally in the dance. This changed the mechanics of the dance to be closer to two equally leading roles between men and women or same sex pairs.

A Queer Tango movement has emerged from the first Queer Tango Festival, held in Hamburg in 2001, to counter conformity to the traditional male-leader, female-follower convention.

In film
Argentine tango is the main subject in these films:
 * ¡Tango! (1933)
 * Kaatru Veliyidai (2017), directed by Mani Ratnam with the song Tango Kelayo composed by Oscar winner A.R. Rahman and lyrics written by vairamuthu.
 * Adiós Buenos Aires (1938)
 * Tangos, the Exile of Gardel (1985), starring Philippe Léotard, directed by Fernando Solanas
 * Tango Bar (1988), starring Raúl Juliá
 * The Tango Lesson (1997), starring Sally Potter and Pablo Verón, directed by Sally Potter
 * Tango (1998), starring Cecilia Narova and Mía Maestro, directed by Carlos Saura
 * Assassination Tango (2002), starring Robert Duvall, Rubén Blades and Kathy Baker, directed by Robert Duvall
 * Orquesta Típica (2005), documentary film about typical orchestra Fernandez Fierro, directed by Nicolas Entel
 * 12 Tangos – Adios Buenos Aires (2005), directed by Arne Birkenstock
 * Tango libre (2012), directed by Frédéric Fonteyne
 * Vaje v objemu / Practice in embrace (2012), directed by Metod Pevec

A number of films show tango in several scenes, such as:
 * The Threepenny Opera (Die 3-Groschen-Oper) (1931), directed by G. W. Pabst, has number called Tango Ballade.
 * The Plow That Broke the Plains (1936), directed by Pare Lorentz.
 * The Four Horsemen of the Apocalypse (1921), starring Rudolph Valentino and Alice Terry, directed by Rex Ingram.
 * L'amore in città (1953), segment "Paradise for three hours" (Paradiso per tre ore), directed by Dino Risi, starring nonprofessional actors, featuring a long sequence in a ballroom, where a passionate tango of Mario Nascimbene is played.
 * Il Conformista (1970), starring Jean-Louis Trintignant and Dominique Sanda, directed by Bernardo Bertolucci.
 * Last Tango in Paris (1972), starring Marlon Brando and Maria Schneider, directed by Bernardo Bertolucci.
 * The World's Greatest Lover (1977), starring Gene Wilder (who also directed), Carol Kane and Dom DeLuise.
 * Death on the Nile (1978), Peter Ustinov and Olivia Hussey tango whilst David Niven is the unfortunate partner to Angela Lansbury's rather eccentric version of the dance.
 * Tango (1981), a short animation film by Zbigniew Rybczynski. Received an Oscar for Best Animated Short Film, Academy Awards 1982.
 * Never Say Never Again (1983), starring Sean Connery and Kim Basinger, directed by Irvin Kershner.
 *  Naked Tango (1990), starring Vincent D'Onofrio and Mathilda May, directed by Leonard Schrader.
 * Scent of a Woman (1992), Al Pacino as blind Colonel dances Argentine tango.
 * Strictly Ballroom (1992), directed by Baz Luhrmann.
 * Addams Family Values (1993), Raul Julia and Anjelica Huston dance a tango so passionate that it literally burns the floor and makes all the champagne bottles in the nightclub pop their corks.
 * Schindler's List (1993), starring Liam Neeson.
 * True Lies (1994), starring Arnold Schwarzenegger, Jamie Lee Curtis and Tia Carrere, directed by James Cameron.
 * Evita (1996), Madonna and Antonio Banderas dance a ballroom tango.
 * Happy Together (1997), directed by Wong Kar-wai.
 * Moulin Rouge! (2001), featuring Ewan McGregor and "El Tango de Roxanne".
 * Waking Life (2001), directed by Richard Linklater.
 * Le Tango Des Rashevski (2002).
 * Chicago (2002), starring Renée Zellweger, Catherine Zeta-Jones, and Richard Gere, directed by Rob Marshall includes a song titled "Cell Block Tango" and is accompanied with a dance.
 * Frida (2002), Salma Hayek and Ashley Judd dance a tango to the Lila Downs performed song "Alcoba Azul".
 * Tango un giro extraño (2004), starring Dolores Solá, La chicana, Silvio Grand, Marinero Montes, directed by Mercedes Garcia Guevara.
 * Shall We Dance (2004), starring Richard Gere, Jennifer Lopez and Susan Sarandon, directed by Peter Chelsom.
 * Madonna featured choreography inspired by the Argentine tango styles for the Die Another Day section of her 2004 Re-Invention Tour. Segments of the 2005 documentary I'm Going To Tell You A Secret show this choreography in use.
 * Rent (2005) had Anthony Rapp and Tracie Thoms perform a semi-elaborate ballroom tango in the song "Tango:Maureen" to describe their emotional relations and issues over a promiscuous girl they both dated.
 * Mad Hot Ballroom (2005), documentary directed by Marilyn Agrelo.
 * Love and Other Disasters (2006), Jacks (Brittany Murphy) and Paolo (Santiago Cabrera) perform a tango together.
 * Take the Lead (2006), starring Antonio Banderas, directed by Liz Friedlander.
 * Tanghi Argentini, Oscar nominated short film by Guy Thys, starring Dirk Van Dijck and Koen van Impe
 * Another Cinderella Story (2008), starring Selena Gomez and Drew Seeley. Performed during the Black and White Ball in the scene where Mary drops her Zune.
 * Easy Virtue (2008), in which Jessica Biel and Colin Firth dance a tango.
 * Step Up 3D (2010), in which Rick Malambri, Sharni Vinson and some of the supporting characters at a ballroom dance a tango to Jazmine Sullivan's Bust Your Windows.
 * Pixilation II (2011), short animation film by Kambras.
 * Tango Libre (2012) starring François Damiens and Anne Paulicevich, directed by Frédéric Fonteyne
 * Two to Tango (2021), directed by Dimitri Sterckens

Finnish tango is featured to a greater or lesser extent in the following films:
 * Onnen maa (1993), starring Pertti Koivula and Katariina Kaitue, directed by Markku Pölönen.
 * Levottomat (2000), starring Mikko Nousiainen and Laura Malmivaara, directed by Aku Louhimies.
 * Tulitikkutehtaan tyttö (1990), starring Kati Outinen, directed by Aki Kaurismäki.
 * Mies vailla menneisyyttä (2002), starring Markku Peltola and Kati Outinen, directed by Aki Kaurismäki.
 * Varjoja paratiisissa (1986), starring Matti Pellonpää and Kati Outinen, directed by Aki Kaurismäki.
 * Kuutamolla (2002), starring Minna Haapkylä and Laura Malmivaara, directed by Aku Louhimies.
 * Tango Kabaree (2001), starring Martti Suosalo and Aira Samulin, directed by Pekka Lehto.
 * Minä soitan sinulle illalla (1954), starring Olavi Virta, directed by Armand Lohikoski.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Tango


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Talk:List of soccer clubs in the United States

Untitled
What about indoor soccer? Rmhermen 13:34 7 Jul 2003 (UTC)

Should WUSA even be mentioned? It's listed ahead of two active leagues - which makes no sense to me. Megamemnon 23:43, 3 February 2006 (UTC)

USA only?
For a list called "List of soccer clubs in the United States" there sure is a lot of Canadian clubs in there. --  Eamonnca1  TALK 00:09, 26 April 2013 (UTC)
 * The problem is that the leagues are sanctioned by a body in the United States but the teams in those leagues are located in Canadian cities. Walter Görlitz (talk) 00:54, 26 April 2013 (UTC)

Map under women's soccer is way off
Has nothing to do with current NWSL teams. No Portland, Seattle, etc. — Preceding unsigned comment added by 67.189.80.18 (talk) 09:16, 1 September 2013 (UTC)

Greenville (Market 44 in the list)
Moving your mouse over Greenville tells you that the link goes to a page for "Upstate South Carolina." However, since both North Carolina and South Carolina have a city named Greenville, I think to make it easier to find out which state the page means "Greenville" should be changed to "Greenville, SC." — Preceding unsigned comment added by EvanJ35 (talk • contribs) 13:08, 11 August 2017 (UTC)
 * Done, good suggestion. Jay eyem (talk) 21:00, 12 August 2017 (UTC)

Transclusion of USL League One and headers
Because the USL League One page, which is transcluded in this page, uses the same level of headings that this page uses for leagues, teh subsections of USL League One -- future teams and team map -- aren't aligned properly here and show up in the TOC at the same hiearchy as leagues.

I tried a couple ways to fix this, but it only seemed to make it worse. Does someone know of a solution? Of course, there's always not transcluding, which we also don't do for the other league sections. Keith D. Tyler ¶ 11:06, 27 November 2022 (UTC)


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Tango (drink)

Tango is a carbonated soft drink originating in the United Kingdom, primarily sold in the UK and Ireland. It was first launched by Corona in 1950. Corona was purchased by the Beecham Group in 1958, and Corona Soft Drinks by Britvic in 1987.

, the flavours available in the United Kingdom include Orange, Apple, Strawberry and Watermelon and Tropical in addition to flavours of the "Tango Ice Blast" slush range. On 7 April 2021, the UK range was extended to include sugar free Dark Berry. Tango is known in the United Kingdom for their advertisements, mostly those broadcast on television in the 1990s from the Howell Henry Chaldecott Lury advertising agency.

Logos and packaging
The first packaging that Britvic introduced, upon buying the brand in 1987, featured the word 'Tango' on a circle with an orange background. In 1989, the cast, material and graphic design of the can changed considerably. No longer molded in the shape of a baked bean can in a non reusable steel material, Tango was now available in a recyclable aluminium composition, with an innovative new ring pull system. On the can itself, the word 'Tango' was featured inside an oval on a backdrop of half sliced oranges. The design was often seen on display in the form of laminated stickers, in the shop windows of confectionery stores and newsagents. 1992 saw the packaging change again, with the 'Tango' logo depicted on the fruit the drink was flavoured with against a black background, with the flavour specified at the bottom.

In the beginning of 1996, Tango packaging changed again, with the words 'Tango' and the respective flavour written on something representing the drink (for example, an orange explosion for Tango Orange). Slight changes were made in 1997, adding more detail. In April 2002, another revamp occurred, with a more three dimensional logo. The design was dropped in 2007, although is still used by Tango Ice Blast. The Diet Tango Orange products from this era featured a grey background instead of a black one.

The summer of 2007 saw a much simpler logo and design, featuring the 'Tango' logo on top of a carved version of the fruit, with the flavour written in lower case at the bottom. Intended to help restore sales of Tango, it actually led to a further decline. May 2009 saw new packaging created by Blue Marlin Brand Design. It featured mashed up images of fruit and graffiti style type, and contributed to a rise in sales.

For limited edition variations of Tango, special packaging has sometimes been produced for them. Notably, the 'Tango Talk' rebrand of Tango Orange and Tango Apple featured a mobile phone in place of the flavour representation featured on regular versions of the flavours at the time. The 2009 larger can packaging of Tango Orange known as "Tango with Added Tango Orange" featured more oranges in the background. The same can be said for the 2010 "King Tango" Tango Orange bottles. More apples were used on the label for King Tango Apple and more cherries for King Tango Cherry. No changes to flavour was made only the size of the can or bottle.

The labelling of the short lived Tango Strange Soda featured a "strange" fruit with facial features, patterned after the name and flavour of the drink. "Tango Orange Sound System: Official Can", a 2010 repackaging of the notably large "Tango with Added Tango Orange" featured speakers on the can, in place of the mashed-up fruit. Both these large cans were advertised as "the first time Tango cans are larger". This is not true, as from 1991 until roughly 2000, all Tango flavours could be purchased in similar size larger cans. The large cans, at the initial 1991 launch, were called "King-Size".

During 2000, short lived 250ml bottles of Tango were introduced as part of a £42m campaign by Britvic, to market their drinks as being suitable for children's lunch boxes. The campaign also introduced the popular Robinson's line of juice drinks Fruit Shoot.

Tango Cherry and Tango Lemon were first to feature the revamp of 2002, getting the treatment in September 2001.

Flavours and variants
In addition to orange, Tango has been sold in numerous flavours.

Still Tango
Still Tango was a selection of juice drinks, initially sold in Orange flavour.

The drink's launch in June 1994 proved to be a disaster following reports of the drink fermenting on store shelves, leading to Britvic re-calling over a million bottles of the product.

The drink was relaunched in September 1995, with an advertising campaign focusing on a single newsagent in Dorking, Surrey. A fellow television advertising campaign in 1996 showcased the failed attempt at the drink's launch. and in May 1996, Apple, Lemon and Blackcurrant variants were introduced.

Tango Strange Soda
Tango Strange Soda was a sub-brand that consisted of juice and milk-based drinks, being available in "Strange Strawberry" and "Odd Orange" flavours and had targeted the children and teenager market. The drink was put into development in 2000 and was initially announced as Freekin' Soda in Late-2002 for a release within the start of 2003, but was pulled following concerns about the brand's name being unsuitable for the brand's target audience of children and teenagers, and the word "Freekin" being linked as a milder alternative to a strong profanity, which would have made the drink unsuitable to be marketed on children's television channels at any time or any networks prior to the 9 pm Watershed.

The drink was eventually introduced under the modified name of Freekee Soda in February 2003; but suffered from low sales throughout its run. Due to a legal complaint over the trademark of the brand name and the initial low sales, it was relaunched under the Tango brand as Tango Strange Soda in September 2003.

Despite this move and a reduction of pricing, the drink continued to suffer from very low sales until Britvic announced the product's discontinuation in January 2004.

Tango Ice Blast
Tango Ice Blast is a Slushie drink originally introduced in 2004. It is produced by Frozen Brothers (previously by Slush Puppie), under license from Britvic.

Limited Editions

 * Peach & Pomegranate (2019)
 * Sour Watermelon (2018)
 * Dark Cherry (2015-2016) (coincided with The Last Jedi release)
 * Bubblegum (2023-2024) (was released as a promotion for Wonka)

====Summer Flavour Festival (2015) ====
 * Citrus
 * Tropical
 * Strawberry & Kiwi

====Summer Flavour Festival (2016) ====
 * Pina Coco'lada
 * Lemon Fizz
 * Pineapple
 * Punchy Peach and Passionfruit

Tango Clear
Tango Clear was a brand of no-calorie clear drinks introduced in April 2005. It was another attempt by Britvic to increase sales of the Tango brand and was aimed at the young female market.

The Drink was initially introduced in Apple and Watermelon and Lemon and Kiwi flavours, and in 2006, the brand was expanded with two more flavours - Raspberry and White Cranberry, and Orange.

Tango Clear was discontinued in September 2007, after Britvic announced that they would strictly focus the Tango brand on its core flavours.

Other products
As well as drinks, the brand have also sold two different chocolate bars, chewy ball sweets and car air fresheners.

In October 2000, Cadbury announced they would team up with Britvic to create a limited edition Tango Orange-flavoured Crunchie.

In July 2011, Turbo Tango, when launched, was described as the "first aerosol drink".

During 2011, several flavours of Chew Stick and Chewy Bonbons were introduced. In January 2013, a Tango branded shower gel was launched. A Tango branded hand soap was also launched around the same time.

Advertising
Beginning in the late 1980s, surrealism was becoming a mainstream technique in advertising. Answering Tango's search for a new ad campaign, ad agency HHCL created the catchphrase "You know when you've been Tango'd". The campaign began in 1992 with the advert Orange Man; it featured a man drinking Tango and immediately being slapped around the face by a portly man painted orange (Peter Geeves). The advert received widespread condemnation after a craze for "Tangoing" people swept the nation's playgrounds, and there were reports of children receiving serious injuries, or even being deafened by being slapped on the ears.

Tango voluntarily replaced the "slapping" advert with an almost identical new version, where the orange clad person kisses the man instead of hitting him. The original version was ranked third in a list of "The 100 Greatest TV Ads", in a 2000 poll conducted by The Sunday Times and Channel 4.

Most subsequent Tango advertisements have avoided showing violence, except for the advert from October 2004, "Pipes", which showed a man rolling down a hill with concrete pipes, causing it to be banned, and the advert from March 1997, "Vote Orange Now", where the orange clad man made another appearance, slapping the advert's protagonist several times. This latter advert was featured in the first advert break on Channel 5.

In March 2000, an advert originally produced in 1998, which depicted a pre-fame James Corden being bullied for not drinking Tango, was banned because it was seen as encouraging the bullying of overweight children. The replacement was a satirically inoffensive advert, Drink Tango: It's Nice.

During August 1999, Tango teamed up with the newspapers Daily Mail and Daily Record to extend their summer peak sales period in a campaign called "Tango Time". The main thread of the campaign activity was a competition where a time of day is printed on the base of cans of Tango. The winning 'Tango Time' was published in the Daily Mirror and Daily Record and winners invited to call a prize claim line. The newspaper adverts were trailed by branding on the front page, including a free offer for a bottle of Tango. The adverts containing the winning 'Tango Time' ran for twenty six days in August 1999.

Tango Apple has often been subject to experimental advertising including an "Apple Tango Calendar" given free in June 1996 with the Daily Star and, in 2003, the "Big Drench Tour", a roadshow of a thirty foot tall apple shaped installation filled with water. Players must stand underneath and take part in a game of 'drench roulette' to win prizes.

Later that year, as Tango Strange Soda launched, three ultimately unsuccessful advertisements for the drink (Taste Buds, Trainers and Classroom) were aired featuring a man's "taste buddies" which are a group of young men behaving as the man's taste buds that vibrate rapidly when the man consumes Strange Soda. The "taste buddy" actors in the advertisements were shot as live action, with the actor standing on a moveable circular frame which was then manoeuvred via a handle to give the "vibrating" trembling effect for each of the "buddies" seen on screen.

In August 2009, a billboard campaign extolled the "weird and wonderful" side effects of drinking too much "Tango with added Tango Orange" (such as "Too much Tango made me suck a bull's udder"). The British press pointed out that the initials of "Tango With Added Tango" spelled the insult "twat" when read vertically, and this was later revealed to be intentional.

Tango advertisements have sometimes featured phone numbers for viewers to call, although the phone numbers would typically appear too briefly on the screen for viewers to type in the number or write it down. Many of these advertisements incorporate a send-away prize, including a rubber doll or a clown horn (the Tango Horn).

A notable exception was an advert which first premièred in 1993 for Still Tango disguised as a subvert falsely alerting people that the drink is unauthorised, and features a phone number for 'affected' viewers to call. Tango sponsored the television show The Word in 1994 and the Underage Festival in 2010. Historically, slogans have included "You Taste the Tang in Tango Every Sparkling Sip You Take" in the 1960s and "The Whole Fruit" in the late 1980s.

Blackcurrant Tango
Blackcurrant Tango is notable for the multiple award-winning television commercial from 1997, St George, which was used to promote it.

For the launch of Blackcurrant Tango in 1996, HHCL produced the "St. George" television and cinema advertisement. In the advertisement, a member of Tango's customer service staff, Ray Gardner, provides a response to a letter of complaint about the flavour of Blackcurrant Tango he has received from Sebastien Loyes, a French exchange student. The letter prompts an increasingly jingoistic tirade during which Ray Gardner removes his suit to reveal bright purple boxing shorts. In one seemingly continuous take, he walks from his office, marches out of Tango's building, and is joined by a flag waving crowd as he enters a boxing ring.

As the camera pulls back, the ring is revealed to be perched on the edge of the White Cliffs of Dover. As the camera circles, Gardner can be heard shouting, "Come on France, Europe, the world. I'll take you all on! I'm Ray Gardner. I drink Blackcurrant Tango. Come and get me!" whilst three Harrier jump jets with purple landing lights hover in the background.

The advertisement was notable for the use of digital editing to seamlessly merge a number of tracking shots, including the final transition from a sky camera to a helicopter shot. Ray Gardner later won the ITV Best Actor in a Commercial award for his performance. The commercial was voted the Best Long Commercial (1956–2001), by the United Kingdom's Film4 television channel in June 2007. The song that appeared in the advertisement, "Don't You Want Me" by Felix, was rereleased with Tango branding.

Recalls
On 25 August 2005, over 100,000 cans of Tango Cherry and Tango Fruit Fling were recalled over fears they could explode due to an ingredient in the drink.

title: Tango (drink)


text:
Abd al-Rahman al-Sufi

ʿAbd al-Raḥmān al-Ṣūfī (7 December 903 – 25 May 986) was an Iranian Muslim astronomer. His work The Book of Fixed Stars ("The Book of Fixed Stars"), written in 964, included both textual descriptions and illustrations. The Persian polymath Al-Biruni wrote that al-Ṣūfī's work on the ecliptic was carried out in Shiraz. Al-Ṣūfī lived at the Buyid court in Isfahan.

Biography
ʿAbd al-Rahmān al-Ṣūfī (full name: Abū’l-Ḥusayn ʿAbd al-Raḥmān ibn ʿUmar ibn Sahl al-Ṣūfī al-Rāzī) was one of the nine famous Muslim astronomers. He lived at the court of Emir 'Adud al-Dawla in Isfahan, and worked on translating and expanding ancient Greek astronomical works, especially the Almagest of Ptolemy. He made corrections to Ptolemy's star list, and his estimations of star brightness and magnitude deviated from those by Ptolemy; just over half of al-Ṣūfī's magnitudes being identical to Ptolemy's. A Persian, al-Ṣūfī wrote in Arabic, the lingua franca of the scientific Muslim world.

Al-Ṣūfī was a major contributor to the translation into Arabic of the Hellenistic astronomy that had been centered in Alexandria, Egypt. His was the first to attempt to relate the Greek with the traditional Arabic star names and constellations, which were completely unrelated and overlapped in complicated ways.

Astronomy
Al-Ṣūfī made his astronomical observations at a latitude of 32.7N° in Isfahan. It has been claimed that he identified the Large Magellanic Cloud, but this seems to be a misunderstanding of a reference to some stars south of Canopus which he admits he has not seen. He also made the earliest recorded observation of the Andromeda Galaxy in 964, describing it as a "small cloud". This was the first galaxy other than the Milky Way to be mentioned in writing.

Al-Ṣūfī also wrote about the astrolabe, finding numerous additional uses for it: he described over 1000 different uses, in areas as diverse as astronomy, astrology, horoscopes, navigation, surveying, timekeeping, Qibla and Salat prayer.

("The Book of Fixed Stars")
Al-Ṣūfī published  ("The Book of Fixed Stars") in 964, and dedicated it to Adud al-Dawla, the ruler of Buwayhid at the time. This book describes 48 constellations and the stars within them.

Al-Ṣūfī compared Greek constellations and stars as described in Ptolemy’s Almagest with Arabic ones, linking those that were the same. He included two illustrations of each constellation, one showing the orientation of the stars from the perspective outside the celestial globe, and the other from the perspective of looking at the sky while standing on the Earth. He separated them into three groups; 21 seen from the north, 15 seen from the south, and the 12 zodiac constellations. He included a complete set of star charts, that included the names and numbers of the individual stars in each of the 48 constellations, and each star's longitudinal and latitudinal coordinates, magnitude, and location north or south of the ecliptic.

Scribal errors within the 35 surviving copies of The Book of Fixed Stars have caused the value of the magnitude for a particular star to vary from manuscript to manuscript. Al-Ṣūfī organized the stars in each of his drawings into two groups: those that form the image depicted, and others that are in close proximity to the image. He identified and described stars not included by Ptolemy, but he did not include them in his own star charts. Stating that his charts were modelled after Ptolemy, he left the stars excluded in Ptolemy's catalogue out of his charts as well.

To allow for the longitudinal placement of the stars within constellations having changed over the eight centuries since the Almagest was written, Al-Ṣūfī added 12° 42' to all the longitudes values provided by Ptolemy. Al-Ṣūfī differed from Ptolemy by having a three level scale to measure the magnitude of stars instead of a two level scale. This extra level increased the precision of his measurements. His methodology for determining these magnitude measurements cannot be found in any of his extant texts.

Despite the importance of The Book of Fixed Stars in the history of astronomy, it took more than 1000 years until the first partial English translation of the book was published in 2010.

Legacy
Al-Ṣūfī's astronomical work was subsequently used by many other astronomers, including Ulugh Beg who was both a prince and astronomer.

The lunar crater Azophi and the minor planet 12621 Alsufi are named after Al-Ṣūfī.

The Astronomy Society of Iran – Amateur Committee has held international Sufi Observing Competitions in memory of the astronomer. The first competition was held in 2006 in the north of Semnan Province, and the second was held in the summer of 2008 in Ladiz near the Zahedan. More than 100 attendees from Iran and Iraq participated in these events.

Google Doodle commemorated Al-Ṣūfī's 1113th birthday on 7 December, 2016.

title: Abd al-Rahman al-Sufi


text:
UBL

The acronym UBL can also mean:

 * Usama bin Ladin (1957–2011), Saudi-born militant and founder of al-Qaeda
 * Hubli Junction railway station, station code: UBL
 * Ulster Bank Limited, a retail banking subsidiary of NatWest Group
 * Ultimate Band List
 * United Bank Limited
 * Unilever Bangladesh Limited
 * United Basketball League
 * Universal Business Language, an ISO standard XML vocabulary for invoices, purchase orders, waybills, etc.
 * University Baseball League, a collegiate baseball league in Taiwan
 * Ubiquitin-like proteins

title: UBL


text:
User:David Newton

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de:Benutzer:David Newton es:Usuario:David Newton fr:Utilisateur:David Newton it:Utente:David Newton nl:Gebruiker:David Newton pt:Usuário:David Newton

title: User:David Newton


text:
Self-bondage

Self-bondage refers to the use of restraints on oneself for erotic pleasure. It is a form of erotic bondage which can be practiced alone.

Self-bondage is characterized by experimentation and ingenuity, and can be riskier than conventional bondage. Self-bondage requires use of techniques for self-binding as movement becomes increasingly restricted as more restraints are applied, and also requires a reliable release mechanism. Many types of bondage equipment can be applied before the one that restrains the hands. For example, leg irons can be applied, as well as gags, blindfolds, etc.

For many of its practitioners, the added challenges and dangers are a part of the appeal of self-bondage, who often devise elaborate self-bondage schemes and release mechanisms, both in practice and in erotic fiction.

Risks
Self-bondage is considered a higher-risk activity than many other BDSM practices — particularly when combined with autoerotic asphyxia — and has led to a number of recorded deaths. The death in 1994 of Stephen Milligan, the British Conservative MP for Eastleigh, was a case of autoerotic asphyxiation combined with self-bondage.

Self-bondage has all the risks of physical restraint and sexual bondage, with the added factor that should anything go wrong, there is no one to effect a rescue. For example, if blood circulation cuts off sensation in limbs, the planned escape mechanism may not be usable.

Types
Self-bondage can be either strict or sensual.

Sensual self-bondage
In sensual self-bondage, escape from restraints is simple and available immediately, if desired. For example, the keys might be within reach or the knots loosely tied. The chief aim is the sensation of immobility and of constrained movement.

Strict self-bondage
Strict self-bondage requires that the means of escape be unavailable until the lapse of time before the release mechanism activates itself. This feature of strict self-bondage makes it potentially more hazardous, but some practice it for the greater sense of helplessness it creates.

Emergency intervention
A compromise position between safety and strictness allows for a backup release mechanism that is available immediately, but carries with it some penalty or cost with its use. For example, keys could be placed in a bucket of paint. The person in self-bondage can escape quickly if necessary, such as a fire breaking out, or excessive numbness of limbs. However, the annoyance of cleaning up the paint afterwards would coerce the person into waiting for the main release mechanism to come into effect if he or she were merely bored or uncomfortable. Another penalty may be the need to contact somebody, with the penalty being having to explain what has happened.

Release mechanisms
Many release mechanisms are used in self-bondage to allow the practitioner to escape the restraints after a period of time. There are various trade-offs to be made between ease of use, reliability, precision of timing, cost, and so forth. There should be several mechanisms available, thus ensuring redundancy and safety.

 * Ice cubes are commonly used as a release mechanism. For example, a key can be placed in water which is then frozen. The key will not be available until the ice melts. Advantages include simplicity and reliability. The disadvantage is that it can be difficult to gauge precisely how long a scenario will last, although some enjoy the uncertainty.

 * Ice locks are frozen together and do not move until the ice has melted down. These can be used alone (to lock a person to a stationary object) or in combination with tightening devices (to keep the tension for a certain period of time).
 * "Salt locks": Salt, sugar or any other safe water-soluble substance blocks parts of a lock. It needs to be dissolved in order to release the mechanism.
 * Combination locks can be used as release mechanisms. These can rely on the time needed to try every possibility for an unknown combination, or they can rely on light in order to see to enter the known combination correctly.
 * Unknown combination: The idea is that the lock is reset to an unknown combination, then used to lock the bondage in place. The person must find the correct combination by trial and error. A three digit combination lock contains a thousand possibilities. At a second per attempt, this could take up to 16 minutes and 40 seconds, usually less assuming the combination starts with lower numbers. For a four-digit lock, it is nearer two hours. Disadvantages include the fact that it may be distracting to actively "crack" the lock.
 * In darkness: Even if the number is known, for many locks, it is not possible to enter the combination without being able to see the faces of the dials. This release mechanism relies on darkness. The light can be provided either by the morning sunlight, or, preferably, through a light on a time switch. The advantages include a large amount of control over how long the bondage lasts (with a timer), and a backup of the onset of daylight. The disadvantages are only being able to use the technique at night, and having to perform the bondage in the dark.
 * Electromagnets: Electromagnets can be used to release keys after a delay. If combined with electronics or a computer, a large amount of control is possible over the timing, and the mechanism is somewhat "fail-safe" — if power fails, the key will fall early. Disadvantages include complexity and cost. The powerful electromagnets used in door locks can also be adapted for use directly as restraints.
 * Soldering irons: Soldering irons can be used, in conjunction with a timing mechanism, to cut a nylon rope, or to release keys. This may be a fire hazard unless appropriate precautions are taken.
 * The use of a delivery/messenger service or regular mail in order to obtain the object (usually key/keys) needed in order to become released. This relies on the delivery service being 100% reliable.

Emergency backup
There are also a number of release mechanisms designed to be emergency backups. The idea behind these release mechanisms is that triggering them will cause something undesirable to happen, and thus are only used in situations where death or serious injury could occur otherwise.

 * Paint tin: A backup key is stored in a bucket of paint, ink or motor oil in such a way that recovering the key will cause the contents of the container to spill, causing costly damage to a carpet or other possessions. This mechanism can be used for extremely quick release in an emergency such as a fire, but can make the situation worse if a flammable liquid is used.
 * Unpleasant drink: An unpleasant liquid, such as urine (the safety of this is discussed in the article Urophagia), is stored in a container. The key is only released when the contents of the container have been drunk (it should be designed so that the contents can not be spilled). The idea is to make the drink so unpleasant that it will only be considered as a last resort.
 * Rescue: A friend or relative is notified to come over at a certain time (that time being after the bondage session is planned to end). The friend may or may not be aware of the bondage. An alternative is to position a phone somewhere that is accessible during the bondage, so that a friend or the emergency services may be called if the planned release mechanisms fail.

Techniques
Apart from release mechanisms, self-bondage poses a somewhat awkward problem of getting into bondage, especially when using rope. What might be a relatively simple matter for more than one person can be considerably more complex alone.

With rope, the main difficulty is tying the hands in a way that is not easy to untie. One common solution is to use a cinch noose — essentially a kind of slip knot — together with a coil (a loop of rope). The wrists are placed through the coil with the cinch noose between the wrists and around the coil. To achieve a basic hogtie position, the cinch noose is tied to the ankles. With pressure, the noose tightens the wrist coil, securing the hands. It proves very difficult to escape from, and usually a knife or scissors is required to cut free.

Equipment that can be tightened only, and not loosened, often has application in self-bondage. This includes handcuffs, zip ties and ratcheting pulleys.

Commercial equipment
While for the most part self-bondage is performed using ordinary and easily available equipment (indeed, it lends itself to impromptu adaptation and a "do it yourself" approach), a few commercial products have appeared — in the United States and United Kingdom for the most part — catering for the self-bondage practitioner.

title: Self-bondage