The SEAT Tango roadster is a concept car presented at the 2001 Frankfurt Motor Show, designed by a team directed by Walter de Silva with the contribution of SEAT's chief of exterior design, Steve Lewis. Featuring a two-door two-seater roadster body style riding on a cut-down SEAT Ibiza platform, it is powered by a 180 PS version of Volkswagen Group's 1.8L 20VT engine which drives the front wheels. While it was an internal concept, it was intended to be called the Tanga because of its rear end lines, however that name was turned down by Volkswagen Group's management as it was found rather provocative. Extensive safety measures were integrated into the project: in addition to the progressive deformation structure and central passenger cell which help to cushion impact, it was equipped with twin front airbags, side airbags, Antilock Braking System, Electronic Stability Control and Traction Control systems; the SEAT Tango was for a long time the subject of speculation on whether would become a production model.
Although supported by SEAT's chairman Bernd Pischetsrieder, an important model in order to boost the brand's auto emoción sporting image and the overwhelming response from the public, the Tango never got the green light for production: SEAT's integration in the following years in the'Audi brand group' meant that decisions had to be made in consensus with guidance from Audi's management. However Audi was opposed to making the Tango a real road car at all costs according to Audi board chairman Martin Winterkorn who announced "I am not signing a production contract with blood until I see the right numbers." And instead favoured new models in segments that were thought to make more sense in sales terms, like the SEAT Altea MPV, meant to succeed Audi's own Audi A2 model.'Autonis award 2002' for the concept car category Type: 20 valve Turbocharged Inline 4 cylinder DOHC Displacement cu in: 110 Power bhp at RPM: 177.5 / 5600 Torque ft·lbf at RPM: 173 / 2100-5000 Driveline: front wheel drive Suspension: front MacPherson struts / rear suspension with a degree of self steer Brakes front/rear: vented disc / disc, ABS-ESC-TCS Length × Width × Height in: 145.1 × 67.5 × 46.5 Weight lb: 2535 Acceleration 0–100 km/h s: 7.0 Top Speed mph: 146 Based on the SEAT Tango roadster, there have been some more derivative models: SEAT Tango spyder SEAT Tango coupé SEAT Tango Racer http://www.caranddriver.com/news/auto_shows/2001_frankfurt_auto_show_auto_shows/appearing/seat_tango_auto_shows http://www.autoblog.com/2006/10/13/tango-concept-could-see-production-says-seat/ http://www.topspeed.com/cars/seat/2001-seat-tango-ar1268.html http://www.channel4.com/4car/ft/feature/concept+car/1410/1 http://www.supercars.net/cars/1739.html http://www.conceptcarz.com/vehicle/z4033/Seat-Tango.aspx http://www.autobild.de/artikel/seat-tango_34825.html
For the pre-1914 submarines known as the Som class in Russia, see Som-class submarine. The Tango class was the NATO reporting name of a class of diesel-electric submarines that were built in the Soviet Union to replace the Foxtrot-class submarines assigned to the Black Sea and Northern Fleets; the Soviet designation of this class was Project 641B and it was known as the Som class. The first of the class was completed in 1972 at Gorky. A total of 18 were built in two different versions; the type was several metres longer than the first because of the installation of ASW missile equipment. The bow sonar installations appear to be similar to those fitted to Soviet nuclear attack submarines; the propulsion plant was the same as the last subgroup of the Foxtrot class. The Tango class had far more battery capacity, far higher than any previous conventional submarine class in the Soviet Navy; this allowed an underwater endurance in excess of a week. Coupled with new armament and sensor fit, the Tango class were ideal for ambush operations against Western nuclear submarines at natural chokepoints.
Because of its all-hull rubber coating, the sub class was nicknamed "rezinka" Construction of this class has now stopped. One unit remains in the Black Sea Fleet but it may have been decommissioned since 2010. Three 641B-class submarines operate as museum ships: B-307 raised on ground - Togliatti Museum of Technology, Russia B-396, afloat in Tushino reservoir - Moscow Navy Museum B-515, afloat in Baakenhafen in Hamburg - museum in HamburgThe conning towers of stricken B-319' and B-474 are on display in Polyarny and Ryazan; the Encyclopedia Of Warships From World War Two To General Editor Robert Jackson. RussianWarrior page about the Tango Class Russian Tango Class Submarines - Complete Ship List
José Alberto Iglesias, better known as Tango or its diminutive Tanguito, was an Argentine rock singer-songwriter. Born into a working class family from western Greater Buenos Aires, he began his career in the early 1960s as the lead singer of the nueva ola group Los Dukes, which recorded two singles released on label Music Hall. In the late 1960s, he became a leading figure in the countercultural underground of Buenos Aires, a scene that gave birth to Argentine rock, the earliest incarnation of Spanish-language rock. Tanguito is celebrated for co-writing Los Gatos' hit "La balsa", that catapulted the burgeoning rock nacional into massive popularity in the summer of 1967-68; this success led to a contract with RCA Victor which soon ended after the little impact of the 1968 single "El hombre restante". Tanguito worked for Mandioca, Argentine rock's first independent record label founded by producers Jorge Álvarez and Pedro Pujó in 1968. In the early 1970s, his amphetamine addiction worsened and damaged his career and personal life.
He was arrested on several occasions and hospitalized at the Hospital Borda, where he was subjected to electroshock therapy. In May 1972, he was declared insane and transferred to a prison for psychopaths; that same month, Tanguito lost his life under the San Martín train. His only studio album, was posthumously released in 1973 and compiled his recordings for Mandioca between 1969 and 1970; the album turned Tanguito into a cult figure among suburban rock fans and installed the persistent myth that he had been the original author of "La balsa" and Litto Nebbia had taken advantage of his fragile state of mind. The musician became a cultural icon as the subject of the 1993 film Tango Feroz, becoming the archetype of the tragic rock hero. In 2009, the archival album Yo soy Ramsés was released, which compiled unedited 1967 recordings for RCA Victor. In 2007, the Argentine edition of Rolling Stone ranked Tango fifty-sixth on its list of the "100 Best Albums of Argentine Rock". José Alberto Iglesias was born September 16, 1945, in the industrial town of San Martín, Buenos Aires Province.
His family lived in a modest house in the town of Caseros, close to the city of Buenos Aires. Iglesias showed no interest in school, after flunking out at age 13 he tried different apprenticeships, including gardening school, but did not persevere; the only issue that held his interest was roll. At age 17, José was a fixture of social ballrooms in the Mataderos and Flores neighborhoods, singing rock and roll covers, he gained local fame as a rock and roll dancer, while most people in the suburbs were tango dancers. To highlight this contrast, his friends started calling him "Tango" or "Tanguito". With his first band, Los Duques, he recorded a few covers and one original song in 1963. In 1965, Tanguito and his friend Horacio Martínez became regulars of a night club named La Cueva in the Recoleta district; the club was to become the cradle of Argentine rock, with celebrities-to-be such as Moris and Litto Nebbia performing and other figures such as Pipo Lernoud, Miguel Grinberg and Miguel Abuelo sharing the limelight.
Many of them were struggling with writing rock lyrics in Spanish, Tanguito was perceived as a novelty act, who could sing energetic Elvis Presley covers in broken English. The musicians would end the night by walking up Pueyrredón avenue together to have late supper or breakfast in café La Perla del Once in the Balvanera district; when Tanguito once ranted in the café's washroom about being alone and sad in the world, Nebbia encouraged him to write a song based on his refrain. Tanguito obliged, Nebbia added a choir with a vaguely bossa nova air; that song would become the first mega-hit of Spanish language rock and roll: "La balsa". Nebbia's band, Los Gatos, recorded it on June 19, 1967, got a significant amount of radio play that helped the single sell over 250,000 copies. Both the name and the lyrics of the song may refer to José Feliciano's La Barca, many of Tanguito's friends acknowledge that Tanguito had Feliciano's song on his mind. Tanguito's own rendition was not recorded, but was broadcast on national television a few months in a segment about the Buenos Aires version of the hippie phenomenon.
The success of "Los Gatos" and Tanguito's status as co-composer of "La Balsa" hinted that a career break was around the corner, yet his first single, recorded January 18, 1968, was not marketed by RCA and sales floundered. During 1968, several songs by Tanguito, notably Amor de Primavera, were being covered or borrowed by emerging artists in the Argentine rock and roll scene. Tanguito would take credit for other people's songs, including the ribald song "Errol Flynn", popular in the summer of 1968. All of Tanguito songs are credited to "Ramsés VII", one of his many pseudonyms, after the Egyptian Pharaoh Ramesses and Tango's affectation for seventh chords. Other pseudonyms he used from time to time include Susano Drago; when Tanguito broke with RCA he found a new home in Mandioca, a label dedicated to rock, which arranged for studio time. But he had trouble motivating himself to complete an album. Tanguito would record one or two song sketches alone with his guitar, or jam with available musicians, disappear for days.
By that time he had switched from alcohol and casual marijuana use to hard drugs, was injecting amphetamines whenever he could afford them. In those years, Argentine's police used hard-line tactics against drug addicts and had little edu
George Schnéevoigt was a Danish film director and actor of the 1930s and early 1940s. Schnéevoigt was born in Copenhagen, Denmark to actress Siri Schnéevoigt, he is the father of actor and director Alf Schnéevoigt. Stærkere end dynamit En Gartnerdreng søges Skyggedanserinden Peter the Pirate George Schnéevoigt on IMDb
The Tango Monastery is a Buddhist monastery located 14 kilometres to the north of the capital city of Thimphu in Bhutan, near Cheri Mountain. It was founded by Phajo Drugom Zhigpo in the 13th century and built in its present form by Tenzin Rabgye, the 4th Temporal Ruler in 1688. In 1616, the Tibetan lama Shabdrung Ngawang Namgyal meditated in its cave; the self-emanated form of the wrathful Hayagriva is deified in the monastery. It belongs to the Drukpa Kagyu School of Buddhism in Bhutan; the word'Tango' in Bhutanese language means “horse head”. This name conforms to the main deity Hayagriva deified in the monastery. According to local legend, the location of this monastery is the holy place where Avalokiteshvara revealed himself as "the self-emanated form of the Wrathful Hayagriva"; the location had been prophesied in Tibet. The acclamation of the divine nature of this place was performed by Ngawang Tenzin.... In the spacious southern valley, this horse-head is like a chaitya come down from the 33rd heaven.
It was emanated like a wish-fulfilling gem from the palaces of the Nagas underneath the earth. It stands on this earth like a tutelary deity; the triangular mandala below the horse-head signifies that it will be a place conducive to meditative accomplishments. The majestic height and space behind the horse-head indicates the greatness and glory of the Kargyupa sect. In front, it has the appearance of a heaping of precious jewels, symbolising the best utilization of endless hidden treasures; the sacred unvarying Vajrasana falls at its right, pointing to the immortality of morally up-right people. At its left is the oblation of the river like the Ganges, possessed of eight attributes, reflecting the satisfaction of all noble sons of the land in the Dharma. At its centre, the unshakeable Vajrasana represents the everlastingness of the Dharmakaya. Below is the dzong of a symbol of the increase of samadhi. Above is the super-natural horse in space, embodying the subjugation of the 3 sensual worlds; the rugged and steep hill to its right signifies the subjugation of heroes.
At the left, Maheshvara is shown to be within the power of Hayagriva, signifies the subjugation of heroines. At the centre, the sacred secluded spot of dakini indicates the protection of the Dharma; the Silwatshel temple of Mahakala below symbolizes the subjugation of all the Dharmapalas. The upper part of the sloping valley held by a Lhatsen stands for the offering of siddhi to the yakshas; the lower terrace of the plateau is protected by Mentsuen, auguring good and plentiful harvests, while the wealth of the people on the land is indicative of the abundance of food. In front, the meandering of rivers represents voluntary oblations, the leafy tree of the forests reflects the increase in experience; the rollicking of monkeys serves as consolation to the yogis. The flutter of wings of birds in the sky offers inspiration to them. Like one rock may have a thousand mouths, so a religion may have manifold sects, but its reality or the essence is aggregated in the mind. Oh! What a wonderful place it is!
The hearing of its name is enough atonement for one’s sins. The possession of faith will make one blessed. Seeing it, one will be enlightened. Residing in it, one will attain nirvana. There will be tranquillity. May peace and happiness envelop this place. According to a local legend Phajo Drugom Zhigpo propounder of the teachings of Dodeyna, on a visit to this place during his teaching mission heard the neighing of a horse coming from the direction of the Tango. Concurrently, he witnessed the cliff in the form of god Tandin engulfed in flames; the deity appearing before Zhigpo prophesied that the place was meant to build a monastery for meditation. The prophecy mentioned that Zhigpo would marry the Dakini, Khando Sonam Peldon and establish the Drukpa Kagyu School of Buddhism in Bhutan; the earliest history traced to this location is when Guru Rinpoche on a visit to the place in the 8th century had identified the place as representing the Hayagriva or horse head. It was only in 1222 that the place again got its recognition when Phajo Drugom Zhigpo, propounder of the Drukpa Kagyu School of Buddhism, witnessed the cliff in the form of god Tandin or Hayagriva.
Shabdrung Ngawang Namgyal migrated from Tibet to Bhutan in 1616 at the age of 23 not only at the request of Pal Yeshay Genpo but due to a conflict with Deb Tsangpa of Tibet. When he travelled in Bhutan on a preaching mission he was attacked by Tibetan army. However, by virtue of his skills in the field of tantric art he subdued his enemies, went into meditation in the caves of the Tango Monastery, he meditated and performed tantric ritual of Gempo in the cave of Tango. With these spiritual powers, Zhabdrung caused the decimation of the dynasty of Deb Tsangpa of Tibet, he celebrated this victory by writing of his achievements by composing the “Nga Chudugma or My sixteen Accomplishments”. Following his victory, Shabdrung Ngawang Namgyal adopted the title of Dujom Dorjee, consolidated his powers and issued sixteen tenets, he renamed the cave monastery as Duduel Phug and went back to the cave for further meditation. However, the cave was attacked by his enemies using tantric powers, they had destroyed the cliff of the caves, which resulted in blocking of the cave by a huge boulder (size of a yak
Tango (Tanguito album)
Tango is the only studio album by Argentine singer-songwriter Tanguito, recorded in 1970 and released posthumously in 1973 on Talent Records. In 2007, the Argentine edition of Rolling Stone ranked it fifty-sixth on its list of the "100 Best Albums of Argentine Rock"; the album was recorded between 1969 and 1970 at TNT Studios, Buenos Aires and featured Tanguito accompanied only by his acoustic guitar, while Javier Martínez served as the producer and spoke to him from the control room. Tanguito was going to record with the members of Manal—Martínez, Claudio Gabis and Alejandro Medina—but he did not show up for any of the two days that they were cited in the studio; the songs "La balsa" and "Amor de primavera" were released as a single within a "flood" of releases by Mandioca in 1970. "Natural" was included in the label's compilation album Pidamos peras a Mandioca, which featured several artists from Argentine rock's first generation, such as Manal, Vox Dei, Alma y Vida, Billy Bond and La Cofradía de la Flor Solar.
The recordings of Tanguito for Mandioca were released as an LP record, Tango, in 1973 on Talent-Microfón, predecessor of Mandioca. The album was unnoticed when it was released due to the poor quality of the recordings. All tracks written by Tanguito except. 1970 in music 1973 in music List of deaths in rock and roll Tango at Discogs Tango at Rate Your Music
Russian battleship Poltava (1894)
The Russian battleship Poltava was one of three Petropavlovsk-class pre-dreadnought battleships built for the Imperial Russian Navy in the 1890s. The ship was transferred to the Pacific Squadron shortly after completion and based at Port Arthur from 1901. During the Russo-Japanese War of 1904–05, she participated in the Battle of Port Arthur and was damaged during the Battle of the Yellow Sea, she was sunk by Japanese artillery during the subsequent Siege of Port Arthur in December 1904, but was raised by the Imperial Japanese Navy after the war and renamed Tango. During World War I, she bombarded German fortifications during the Siege of Tsingtao; the Japanese government sold Tango back to the Russians at their request in 1916. She was renamed Chesma. En route to the White Sea, she joined an Allied force that persuaded the Greek government to disarm their ships, her crew declared for the Bolsheviks in October 1917, but made no effort to resist when the British decided to intervene in the Russian Civil War in early 1918.
In poor condition, the ship was used as a prison hulk. Abandoned by the British when they withdrew in 1919 and recaptured by the Bolsheviks, she was scrapped in 1924; the design of the Petropavlovsk class was derived from the battleship Imperator Nikolai I, but was enlarged to accommodate an armament of four 12-inch and eight 8-inch guns. While under construction their armament was revised to consist of more powerful 12-inch guns and the 8-inch guns were replaced by a dozen 6-inch guns; the ships were 376 feet long overall, with a draft of 28 feet 3 inches. Designed to displace 10,960 long tons, Poltava was over 500 long tons overweight and displaced 11,500 long tons when completed; the ship was powered by two vertical triple-expansion steam engines, built by the British firm Humphrys and Dykes, each driving one shaft, using steam generated by 14 cylindrical boilers. The engines were rated at 10,600 indicated horsepower and designed to reach a top speed of 16 knots, but Poltava reached a speed of 16.29 knots from 11,213 indicated horsepower during her sea trials.
She carried enough coal to give her a range of 3,750 nautical miles at a speed of 10 knots. Her crew consisted of 26–27 officers and 605–625 enlisted men; the Petropavlovsk-class ships' main battery consisted of four 12-inch guns mounted in two twin-gun turrets, one forward and one aft of the superstructure. Designed to fire one round per 90 seconds, the actual rate of fire was half that, their secondary armament consisted of twelve Canet six-inch quick-firing guns. Eight of these were mounted in four twin-gun wing turrets and the remaining guns were positioned in unprotected embrasures on the sides of the hull amidships. Smaller guns were carried for defense against torpedo boats, including a dozen QF 47-millimeter Hotchkiss guns and twenty-eight Maxim QF 37-millimeter guns, they were armed with six torpedo tubes, four 15-inch tubes above water and two 18-inch submerged tubes, all mounted on the broadside. They carried 50 mines to be used to protect her anchorage. Poltava was the first Russian battleship to use Krupp cemented armor, imported from Germany.
Her waterline armor belt was 12–14.5 inches thick. The Krupp armor of her main gun turrets had a maximum thickness of 10 inches and the nickel-steel armor of her protective decks ranged from 2 to 3 inches in thickness. Poltava was named for the victory at the 1709 Battle of Poltava when Peter the Great defeated King Charles XII of Sweden. Delayed by shortages of skilled workmen, design changes and late delivery of the main armament, the ship was under construction for six years, she was laid down on 19 May 1892, together with her two sister ships, at the New Admiralty Shipyard and launched on 6 November 1894. Her trials lasted from 1898 to 1899 and she was briefly assigned to the Baltic Fleet. Together with her sister ship Sevastopol, Poltava had a radio installed in September 1900, the first ships in the Imperial Russian Navy to get such equipment. On 15 October the sisters set sail for Port Arthur and had to unload much of their ammunition and other stores to reduce their drafts enough to pass through the Suez Canal.
Poltava arrived at Port Arthur on 12 April 1901, the day before her sister. After the Japanese victory in the First Sino-Japanese War of 1894–1895, both Russia and Japan had ambitions to control Manchuria and Korea, resulting in tensions between the two nations. Japan had begun negotiations to reduce the tensions in 1901, but the Russian government was slow and uncertain in its replies because it had not yet decided how to resolve the problems. Japan interpreted this as deliberate prevarication designed to buy time to complete the Russian armament programs; the situation was worsened by Russia's failure to withdraw its troops from Manchuria in October 1903 as promised. The final straws were the news of Russian timber concessions in northern Korea and the Russian refusal to acknowledge Japanese interests in Manchuria while continuing to place conditions on Japanese activities in Korea; these actions caused the Japanese government to decide in December 1903. As tensions with Japan increased, the Pacific Squadron began mooring in the outer harbor at night in order to react more to any Japanese attempt to land troops in Korea.
On the night of 8/9 February 1904, the IJN launched a surprise attack on the Russian fleet at Port Arthur. Poltava was not hit by the initial attack by torpedo boats and sortied