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Talk:AC Cobra

Shelby Cobra
I've given plenty of time for a rebuttal to my earlier comments. Getting to the point. It's a volatile issue, but any references to an 'AC Cobra' in this thread needs to be changed to 'Shelby Cobra' or 'Shelby American Cobra'. Shelby American is the lawful manufacturer of record for these cars, and this was decided in a court of law when Brian Angliss...then owner of the old Auto Carrier company....signed a document conceding that this was indeed the case. The fact that these cars were both sold and titled with Shelby American VIN numbers, and that a Shelby American facility was the site of final assembly for all of the original Cobras, should have told us this without the need for litigation but the court agreement makes it rock solid. If anybody can find a more compelling reference regarding the manufacturer of record for these cars I'll be glad to entertain it, otherwise I'm going to properly reference the court's findings and change the page.Syr74 (talk) 15:52, 10 July 2008 (UTC)
 * Oh rubbish. The cars were assembled as rolling vehicles at AC. All Shelby did was fit the engines to the ones shipped to the USA and, for the MkIII, paint them. All the RHD cars and the LHD ones that didn't go to the USA were entirely built by AC. As for the "lawful manufacturer of record," who cares? The car was an AC design built in the AC factory, and none of Shelby's dubious claims can affect that. The manufacturer of a car is not determined by an American court; it's determined by whose factory it came out of, and in the case of the Cobra that was the AC plant at Thames Ditton. The fact that they had a Cobra badge at the front and an AC one at the back should have told us this without need for litigation...--FergusM1970Let's play Freckles 02:54, 9 September 2012 (UTC)

 * By this logic all current AC Cobras should be called Hightec Cobras as they are the supplier of these vehicles. Infact High tec even fit the engine and gear box unlike Shelby American who completed production of the vehicle and registered the VIN at Shelby American in California. Shelby ordered rolling bodys from AC Cars for their Cobra vehicle 90% of which were marketed and sold in North American under CSX the remainder were sold abroad under CSB . With regards "lawful manufacturer of record" this is indeed the most important point which firmly makes the case for change of page name. Otherwise every single supplier for every single automotive component on the planet can claim a vehicle they supply to is infact their vehicle. This could see the laughable emergence of the Bosch Gullwing or the Fiat 250 GTO or Continental DB9 simply because they provided critical component. in 1993 AC Cars and Shelby released a joint press release making it clear that FIA and SCCA establish Shelby as the manufacturer of record for from 1962 - 1966 this is the final case for the change of name on this.  — Preceding unsigned comment added by CarHistory2020 (talk • contribs) 09:06, 25 January 2021 (UTC)

In an encyclopedic reference your commentary on the issue of legal manufacturer of record is 'who cars'? That is simply an unworkable approach. Further, a good deal of the information you are relaying simply isn't accurate. For example, what AC product is the 427 Cobra a re-engined version of? AC badged cars based upon that chassis design only came after the Shelby American car debuted, not before. The big block car was designed by Ford Motor Company and Shelby American and uses a different frame, suspension, and body shell (sans doors, hood, and trunk) than did the Ace or 289 Cobra. And finally, the manufacturer of a car is absolutely determined by who the legal manufacturer of record is, otherwise we would be discussing the Daimler Steyr Boxster, Cayman, and 300 models. Your argument is blatantly an emotionally driven one backed by no real evidence, and, as mentioned elsewhere, based upon that I am going to revert your edits.Syr74 (talk) 02:50, 2 October 2012 (UTC)
 * The 427 Cobra is an AC design with computer assistance from Ford, and all the cars were built by AC in the UK. The court case - for which I can't find a reference anywhere - only refers, apparenttly, to the Cobras sold in the USA. In any case I don't believe it's relevant, because the declaration of a local court in California about who is the "legal manufacturer of record" has little to do with who actually manufactured the cars, which I would suggest has a lot more to do with whose factory they were built in than the opinions of some ambulance chaser, and that was AC. I believe that it's you who is driven by emotion here. Before editing the article again to say that Shelby built the cars can you please show some evidence that they were built in California and not Surrey?--FergusM1970Let's play Freckles 09:53, 2 October 2012 (UTC)

 * A 1963 advertisement for the "A.C. Cobra", from an issue of Autocar here:  — Preceding unsigned comment added by 80.7.147.13 (talk) 17:53, 12 July 2013 (UTC)

 * It should be noted that this is as advertised by Auto Carrier, not by Shelby American. This is an even more interesting part of the story because, according to D. Freidman's book and other sources, Shelby had made a gentleman's agreement with Auto Carrier to use the name of both companies names in print and on the car in Europe, the U.S., and the UK. Initially Shelby complied by labeling American cars as Shelby-AC Cobra, but Auto Carrier did not comply either on the cars they finished or in print, so Shelby retaliated in many ways including removing AC from the badges and the names of smallblock-powered cars in America when new emblems were developed, forcing Auto Carrier to stop applying Cobra badges to small-block powered cars they completed(Shelby American owned the Cobra trademark), and never allowing AC to apply Cobra badges to AC MkIV series cars as well as granting them effectively no big-block powered cars to be sold in the UK (most people don't seem to know that almost every big-block powered car was a Shelby American Cobra finished in California and destined for the American market, not an AC-badged Mk IV). We need to get several editors involved here because, while Auto Carrier is an important part of the story, the term AC Cobra is literally the colloquialism in this case, and not really a legitimate name for this car when referencing actual, professional sources. Syr74 (talk) 20:35, 29 January 2018 (UTC)

By 1962, AC Cars Ltd. had not been called Auto Carriers Ltd. for forty years. All genuine 1962-9 Cobras were built by AC at Thames Ditton. The majority were shipped as rolling chassis, with modified coachbuilt AC Ace bodies, to Shelby American in California, where the engines and drivetrains were installed. These cars had AC's CSX chassis numbers. They were shipped with the 'Shelby AC Cobra' hood and tail badge, but after the first fifty or so Shelby started swopping that for his snakehead badge. Even so, photographs of well-known CSX Cobras at American racetracks in the 1960s show the AC badge in the middle of the steering wheel. UK-market cars had COB numbers and European-market cars had COX numbers. AC installed the engines and drivetrains in these cars themselves by agreement with Ford. Shelby did not own the Cobra name from 1965, having sold it to Ford for $1 so he could get the lucrative licensing deal to put his name on the GT350 Mustang. Shelby's status as 'legal manufacturer of record' was recognised by the FIA and SCCA for racing purposes, but the agreed 1993 press release by Shelby and Angliss does not go further. https://books.google.co.uk/books?id=N2OoCgAAQBAJ&pg=PT357&lpg=PT357&dq=carroll+shelby+brian+angliss&source=bl&ots=a4GLVUstz-&sig=ACfU3U38Foazh761p_MLoZUJxT2O_YbjpQ&hl=en&sa=X&ved=2ahUKEwiC3criyujpAhWKilwKHY-WB2c4ChDoATACegQICRAB#v=onepage&q=carroll%20shelby%20brian%20angliss&f=false Shelby had just then got into a spot of bother because he was selling new-build Cobras, with chassis manufactured by a firm called McCluskey, as 1965 originals to command a higher price -- he claimed he'd had the chassis lying around since 1965, which wasn't the case, though the engines were apparently reconditioned 1965 units. These cars are legally replicas, as they were not built by AC. Brian Angliss's Autokraft AC Cobra MkIV of the late Eighties and early Nineties was made under agreement with Ford, which of course owned (and owns) the Cobra name, and was sold through Ford dealers. Angliss had acquired AC during the production run. Khamba Tendal (talk) 16:55, 4 June 2020 (UTC)

 * To be clear, Carroll Shelby never manufactured a single Cobra except for the short run of early-1990s McCluskey-chassis 427 'continuations', in fact replicas (produced simply to exploit the silly-money resale prices of original AC 427s), which for a time he pretended were genuine 1965 AC cars until legally forced to admit otherwise. Because Cobras were originally marketed as 'Shelby Cobras' in the US (the main market), Americans often imagine that Shelby manufactured them, but he did not. He just dropped the engines in. Nor did he design the revised chassis for the big-block 427. He proposed it, but AC and Ford did the actual job of design and AC did the manufacturing. And the 427 wasn't a very good car anyway. It handled like a shopping trolley on acid and it didn't sell. Its failure to sell was the reason why Shelby was able to assign unregistered chassis numbers to his 1990s 'continuations'. His original idea, to drop the Corvette engine into the Big Healey, would have produced a much better and more useable car than the Cobra (as we know from actual Healey-Chev conversions carried out by individual owners and mechanics in Britain and the US), which would have sold much better, and there was the rub. Neither Chevrolet, nor British Motor Corporation, nor Donald Healey wanted Shelby biting chunks out of their market. They preferred to keep selling stock Corvettes and Austin-Healey 3000s, thank you very much. Khamba Tendal (talk) 19:11, 4 June 2020 (UTC)

To be clear you are ignoring the facts of the matter as outlined in the hyperlink above. Both AC Cars and Shelby released a joint statement saying that Shelby is the Manufacturer of record. Also with regards the facts of the matter AC Cars provided rolling chassis for Cobras to Shelby who completed the vehicles and registered the Vins in California thereby making them the manufacturer of the cars. The design and production of the rolling chassis is not in dispute here. The dispute is related to who Finished, registered and sold the car and that, as is clear in the joint statement, was Shelby American. We cannot call a car by the name of a tier 1 supplier of components it is the Manufacturer of record otherwise everything from that Audi A4 through to the Tesla Roadster would have to be renamed according to the provider of the rolling chassis. A supplier does not make the manufacturer of record. Thus the name of this article and all attribution must be changed to Shelby Cobra or at the least Shelby AC Cobra. — Preceding unsigned comment added by CarHistory2020 (talk • contribs) 09:21, 25 January 2021 (UTC)

With this in mind the name of this article must be changed to present the facts correctly as they have been outlined which is namely that Shelby American is the official manufacturer of record for a vehicle that was called the Shelby Cobra (as the VINs of the vehicles were assigned by the manufacturer of record Shelby American). About 10% of Cobras sold were built directly by AC Cars but this "AC Cobra" should be a sub section of the existing article not the predominant topic as this relates to the world famous North American final assembly/manufactured and registered Shelby Cobra produced by Shelby American. Finally as is outlined on the Shelby American article and confirmed in this statement 348 of the 928+ Shelby Cobras manufactured had zero involvement from AC Cars therefore they are absolutely not an AC Cobra.CarHistory2020 (talk) 09:38, 25 January 2021 (UTC)

AC Cobra/Shelby Cobra
For some reliable background information, I recommend: "Shelby Cobra" by Dave Freidman, company photographer for the Shelby works and raceteam from '62 to '65 and "AC/Ford/Shelby Cobra Super Profile" by Rod Grainger. I started with some edits based on these sources. Aburgt 11:11, 29 October 2007 (UTC)

With this in mind the name of this article must be changed to present the facts correctly as they have been outlined which is namely that Shelby American is the official manufacturer of record for a vehicle that was called the Shelby Cobra (as the VINs of the vehicles were assigned by the manufacturer of record Shelby American). About 10% of Cobras sold were built directly by AC Cars but this "AC Cobra" should be a sub section of the existing article not the predominant topic as this relates to the world famous North American final assembly/manufactured and registered Shelby Cobra produced by Shelby American. Finally as is outlined on the Shelby American article and confirmed in this statement 348 of the 928+ Shelby Cobras manufactured had zero involvement from AC Cars therefore they are absolutely not an AC Cobra.CarHistory2020 (talk) 09:38, 25 January 2021 (UTC)

This article is terribly inaccurate and noticeably biased in many areas. These cars are not an AC anything and are, in fact, Shelby American Cobras. The reasons for this are both simple and a matter of record.

First, as the article itself states a court of law reviewed the evidence and found Shelby American to be the manufacturer of record for the car. Unfortunately, the article incorrectly states that the court found that Shelby American was the manufacturer of record for the 'AC Cobra'. This statement makes no sense on its face since the very purpose of the court decision in question was to decide wether these cars were Shelby automobiles or not. For the statement to be correct it should instead read that the court found the manufacturer of record to be Shelby American acknowledging the fact that these cars were Shelby Cobras.

Arguably this should have been obvious without the intervention of a court of law since every Shelby Cobra ever produced bore a 'CSX' series Shelby VIN number meaning that they were built and sold as a Shelby American product with final assembly taking place in a Shelby American facility. AC never contested this during the original production run and would later lose the only legal contest held regarding the matter as indicated above. It might also be worth mentioning that while the original, small-block powered Cobra is based on a chassis originally designed by, and always manufactured by, Auto Carrier the 427 powered Cobra roadsters manufactured later were designed almost exclusively by Shelby American with the assistance of Ford Motor Company with no serious engineering involvement on the part of AC, athough the British firm did still produce the chassis for these cars.

The above aside, inaccuracies and omissions within the article abound. For example. Why is the history and development of the AC Ace upon which the small-block Cobra is based covered while neither the evolution of the small-block powered cars or the development of the big-block powered cars by Shelby American is mentioned in any meaningful way? The AC Ace deserves a mention here to be sure, but it would seem that a simple refernce with a link to the page for the AC Ace containing the information in question would be more than sufficient and far more effecient. As the article stands it displays obvious bias appearing in fact to be the product of a pro-AC agenda. The lack of information regarding the Cobra itself, particularly those of the big block variety, is so sweeping that it makes this page virtually useless. Need I even mention that weasel words abound?

Another example of inaccuracy is the reference to the 'Turd' indicating that this was the same car Shelby first attempted to fit a big block FE engine into. This is, in fact, incorrect with the 'Turd' and the initial big block mule in question being two seperate cars. I could go on by I don't see the point.

This article needs a complete and immediate revision.

(76.177.76.250 18:08, 14 August 2007 (UTC)Syr74)

 * The "CSX" chassis numbers, as already explained in the article, were a continuation of the A and B series numbers used in the AC Ace. "X" meant "Export." Cobras sold in the UK had "CS" numbers. You are quite simply incorrect on every count. Shelby did not design or build these cars; AC did.--FergusM1970Let's play Freckles 03:14, 9 September 2012 (UTC)

Your argument is simply incorrect in almost every respect. Auto Carrier is not, and never has been, the legal manufacturer of record for these cars. Shelby American was and is the legal manufacturer of record as determined in a court of law and, attested to at that time, by Brian Angliss who was the owner of AC Cars Ltd at that time and the (losing) defendant in that case. This simply is not a place for emotionally driven opinion, rather it's supposed to be an encyclopedia. As such I'm reverting your edits which border, very nearly, on vandalism. — Preceding unsigned comment added by Syr74 (talk • contribs) 02:43, 2 October 2012 (UTC)
 * Can I have a link to that court case please? In any case the Cobras were built in Surrey, and last time I checked Surrey is outside the jurisdiction of a court in LA, so I don't much care about it. As it happens AC is very much the manufacturer of record for the Cobras, which is why they all have AC chassis numbers and left the factory with AC badges on the boot lid and steering wheel boss. If Shelby manufactured them why did he choose to do it in someone else's factory in another country 6,000 miles away?--FergusM1970Let's play Freckles 09:58, 2 October 2012 (UTC)

I believe the comment below is an emotional response, and this webpage is not bogus. To summarize: AC built 80% of the car, while Shelby put an engine in it, sold it, and led its race team. Because of Shelby's marketing, in the US we call the car the "Shelby Cobra", while the rest of the world calls it the "AC cobra" or just plain "Cobra".Mark Eby 16:20, 27 July 2007 (UTC)

Wow, the bias an unabashed bias surrounding this vehicle are amazing. When I have the time i will devote far more of it than I should, or should have to, to fix the slew of problems with this page. Unfortunately given the amazing amount of misinformation and bias on this page keeping it that way may prove an even larger challenge. The really unfortunate thing....people come to this site and read articles like this not understanding that they are only as 'good' as the person/s who typed them. Issues like this need to be fixed as quickly as possible.(Syr74 06:14, 14 October 2007 (UTC)SYR74)

This webpage is bogus. AC never made a Cobra. Only Shelby made the Cobra. The Shelby Cobra was based on the coackwork of the AC Ace. Lokisgodhi 13:14, 11 March 2007 (UTC)

Don't be silly. AC made the car, AC did most of the modifications required in order to fit the V8, Ford built the Engine..what did Shelby do again? oh, he assembled all the components that were supplied by other people.

besides its better for the car's image to think of it as British, everyone knows that European cars are the best in the world, and to call it American, will make people think that it is a poor quality car.Sennen goroshi 04:37, 2 September 2007 (UTC)

Since the car is known as either, would it not make sense to change the title to AC/Shelby Cobra and point out that it is known as both and why it is so. It should be pointed out that AC made the chassis, bodywork, Ford made the engine and drive-train and Shelby fitted them together (with significant modification and engineering effort). Additionally, this article should not take sides in this kind of debate, but instead should highlight its existence and present the facts as they stand and allow the reader to decide for themselves, at least until some overwhelming evidence is found to back up either side. BTW, courts are not the arbitrator of truth and it wouldn't surprise me that if you asked a British court, the answer was different. FWIW, with the exception of some very small amount of quite recent American literature, I have never seen the Cobra referred to as anything other than an AC Cobra. Nasty 11:55, 14 October 2007 (UTC)

 * The same sort of argument's going on at the Ford GT40 page. Both cars were designed and built in Britain, with the only American input being the V8 engine - and the original GT40s were only available in right hand drive. 'Anglo-American' seems about right for a description for both - unless any of you prefer 'American-engined British car' - or 'British car with an American engine' - they certainly weren't 'American' cars. Perhaps you'd prefer 'British kit car' as a lot of engineless cars were shipped to the US for fitting the V8.

 * Alternatively, if you are really sure that they are classed as 'American' because American money paid for them then perhaps you'd like to 'mosy on' over to the North American P-51 Mustang page, and change all references to 'American fighter airplane' to 'British fighter aeroplane', as that was designed in the US for the British who paid North American cash for the designing and for the first hundred-or-so of them built.

Possible urban myth, but my housemate swore he heard it on the radio: a little old lady being interviewed had apparently owned one of each model AC Cars produced as they were introduced. Her favourite was the Cobra. She was most particular about having it serviced, and she had her own way of checking the mechanic hadn't screwed up her car. She would take it out onto the motorway and get it up to 70 mph. She would then floor the accelerator and time how long it took to reach 100 mph (some ridiculously short time IIRC). If it was "sluggish" (!) she would immediately return it and complain. Phil 12:36, Dec 10, 2003 (UTC)

I've linked to replica car but would kit car be more appropriate? --Phil 08:53, Feb 9, 2004 (UTC)

 * Replica is better. Some Cobra replicas are kits, but some are delivered complete.  Some are only 'kits' to avoid taxes and/or regulatory requirements, and require only very simple assembly. —Morven 08:57, 9 Feb 2004 (UTC)

Is the car called the AC Cobra or the Shelby Cobra? I never heard the AC name used on the Cobra before, but I see some web references to both... --SFoskett 04:28, Nov 27, 2004 (UTC)

 * It could depend on which side of the Atlantic you are. // Liftarn
 * What about the DC Cobra, or the AC/DC Cobra? Gzuckier 14:16, 3 Jun 2005 (UTC)
 * Wouldn't The DC Cobras be a great name for a band?Gzuckier 14:16, 3 Jun 2005 (UTC)

"There are Cobra Clubs around the country where enthusiasts meet and ride." What country would that be?

Some text about the Cobra Daytona (the racing berlinetta version) will be a great improvement. Ericd 14:31, 2 May 2006 (UTC)

Regarding the COBRA "DAYTONA" COUPE ("Covered Cobras"):

I'm no auto racing expert but have learned a good deal about these six cars recently. According to fairly voluminous information about them, their development, racing success and subsequent individual vehicle histories is fascinating and deserves a greatly expanded section.

An important correction seems to be in order regarding the strange coincidence that there are (were) two prominent auto racing personalities named "Peter Brock." The American version led Shelby's program to field a 'Ferrari killer' in the mid 1960s and is alive and well and recently heavily involved in the Superformance LeMans Coupe development program (mentioned here as the Hi-Tech South African replicar effort).

The beloved Australian racer and developer Peter Brock was recently killed in a rally there driving, by strange coincidence, a 'Daytona' reproduction car. (photo and caption substantially correct.)

BTW: The "Daytona" moniker was apparently coined by the automotive press when I believe the first (and perhaps also being the only American-built) copy of the 'Brock Cobra Coupe' was prematurely disabled (destroyed?) in a pit fire during the course of decisively trouncing the factory Ferraris in its first outing at Daytona.

Picture
I took this picture 2 days ago but i dont know how to put it up (or who to check with to see if it could be useful for the article). If anybody could help me out, it would be great. Here is the link http://img226.imageshack.us/img226/526/img2314hq5.jpg Sorry about the trouble, im pretty much new to this.

 * go to here http://en.wikipedia.org/wiki/Special:Upload Gzuckier 20:23, 3 October 2006 (UTC)

Kirkham Motorsports
This bit seems a bit suspicious, it sounds almost like Kirkham added it themselves. I mean if these replicas are supposed to be good then fine, but it doesn't need to go on about it quite so much, and there are many more high quality replicas too, not just Kirkham.--Santahul 16:11, 1 February 2007 (UTC)

Not true. Kirkham makes by far the best and most accurate replica. Yes, there are other decent replicas but nothing comes close to a Kirkham. Current Shelby replicas and Kirkham replicas are also the only replicas built with aluminum bodies. As mentioned, Kirkham supplies the aluminum bodies for the current replicas built under the Shelby name. Kirkham definitely deserves a detailed mention in this space.

For sure they deserve a mention, but not a two paragraph advertisement!!!! —Preceding unsigned comment added by 172.206.245.192 (talk) 13:28, August 26, 2007 (UTC)

Cobra Replica Distortions
This article is becoming perverted by a continuing effort to promote the advertising interests of Kirkham, who are only one of a large number of Cobra replica suppliers. The text used has been highly distorted and has actively disparaged all other replica manufacturers, some of whom produce very high quality products. In any case Cobra replicas are not a relevant topic in this article anyhow. If replicas are to be dealt with it should be in a fair and comprehensive treatment. As for the right to describe a car as a Cobra it should be pointed out that the rights to the Cobra name and logo ultimately rests with Ford, and in 1987 Ford granted AC Cars under Brian Angliss the right to the name and logo in all countries but the USA, withholding the USA rights. Ford by 1987 had a controlling interest in AC Cars Ltd. Both Shelby and AC Cars products in the 80’s and 90’s both warrant the name Cobra, from a historic as well as a legal perspective. Howie770 19:24, 9 October 2007 (UTC)

In Popular Culture: Gunsmith Cats entry is flat-out wrong
Rally Vincent, the lead character in Gunsmith Cats, owns a Shelby Cobra GT500 -- a Mustang, not an AC Ace. She has been shown driving an AC Shelby and against an AC Shelby, but it isn't her car. I don't like just deleting things outright, so I'll post this and leave it for a while, then edit the main page (which I'm going to do anyway since it has some minor typos like spelling 'shelby' as 'shebly' and such.)

Possibly going back into production?
Hasn't there been talk of the Cobra going back into production, with an updated appearance? http://www.pistonheads.com/Ginetta/default.asp?storyId=17208 <-- This one seems to be bandied about the most often. --98.232.188.173 (talk) 07:32, 16 March 2010 (UTC)

"COB 1"
This was the (UK) registration number of a twin-turbocharged 1967 427 good for about 700 bhp, which used to belong to Hertfordshire classic car dealer Rod Leach and appears to have been sold at auction in 1998. It was on display in HR Owen in South Kensington for a while when I was a Penniless Student Oaf in the early 80s. Anyone got any more info, as all I could glean from Leach's adverts in long-gone magazine "Supercar Classics" that it was up for sale at the time when the bottom dropped out of the classic car market in the early 90s.Mr Larrington (talk) 15:12, 23 March 2010 (UTC)

1 COB (is that the same car?) is currently (Oct 2011) available to drive around Goodwood circuit, courtesy of Mithril Racing. I drove her in fine weather yesterday and can confirm that she's in excellent condition! ColynK (talk) 12:29, 16 October 2011 (UTC)

"Coupes or Coupé"
I'm puzzled by the section heading "Coupes or Coupé". There seems no need to highlight the alternative spellings in this way -- unless the issue is of notable significance to the subject, which seems not to be the case since it is not even mentioned in the main text. I also don't understand the plural ("Coupes") versus singular (Coupé) distinction. I would normally just change it to, say "Coupés", but I'm wondering if I'm missing some point. 81.157.197.168 (talk) 00:32, 22 April 2010 (UTC).

Picture of AC Cobra Mk 1.
This is actually a picture of an AC Ace. The car that preceeded the Cobra. The picture should be removed, or clarified that it is the car that AC constructed prior to the AC/Shelby Cobra. (Not sure how to edit pictures at this point in time.) TwoManyMinis (talk) 01:12, 2 September 2010 (UTC)TwoManyMinis

Peter Brock...
Someone added that Peter Brock (designer of the Cobra Coupe) was killed in a race in Australia in 2006. The Aussie racer Peter Brock was a different person. Check the disambiguation list, there are two Peter Brocks involed with cars and racing. The Peter Brock involved with Shelby is happily still alive.

Whoever added that to this entry was very careless... —Preceding unsigned comment added by Bassetman4 (talk • contribs) 17:07, 9 September 2010 (UTC)

Incorrect Fact
I apologize, I'm new to editing Wikipedia and I'm not sure if this is the correct way to point this out, but I noticed an inaccuracy on one of the pages but hesitated to delete the fact altogether. Thus, I am making a note of it here.

The Quote: The Cobra was perhaps too successful as a performance car and reputedly contributed to the implementation of national speed limits in the United Kingdom. An AC Cobra Coupe was calculated to have done 186 mph (299 km/h) on the M1 motorway in 1964, driven by Jack Sears and Peter Bolton during shakedown tests prior to that year's Le Mans 24h race.[6]

The Inaccuracy: I looked up the source which refers to a different car, albeit one derived from the AC Cobra Cope. Specifically, the car referred to by citation #6 is the Shelby Daytona Coupe. The AC Cobra Coupe was drag limited to a much lower speed, but my cursory search for a source on this turned up nothing. Nevertheless, the fact above misrepresents which car reached 186.

WRXspec (talk) 21:57, 10 February 2011 (UTC)

The paragraph reads, at the moment: "An AC Cobra Coupe was calculated to have done 186 mph (299 km/h) on the M1 motorway in 1964, driven by Jack Sears and Peter Bolton during shakedown tests prior to that year's Le Mans 24h race.[6] However, government officials have cited the increasing accident death rate in the early 1960s as the principal motivation, with the exploits of the AC Cars team merely highlighting the risk." This makes little sense at the moment and presumably refers to the nationwide introduction of speed limits; and I certainly remember the incident. But I do not have a reference. Cross Reference (talk) 00:49, 12 May 2012 (UTC)

Mark I, Mark II and Mark III
The book AC Cobra by Rinsey Mills ISBN 1-85960-849-3 contains a comprehensive list of AC Cobra chassis numbers. This list does not designate the original leaf spring chassis as Mark anything (Speculation that Mark I is a retronym, since it was not used until production of the next generation began.) Two of the original series, chassis numbers CSX 2701 and CSX 2702 became the first two Mark II chassis with the coil spring suspension and the 427 engine. These chassis were renumbered CSX 3001 and CSX 3002. This book designates the Coil spring chassis as Mark II (pg 118 and pg 152.)  Nowhere in this book have I encountered a reference to a "Mark III"   I am reticent to make such extensive modifications to the article without additional citations but I am confident that there was not a Mark III Shelby Cobra. Qwy47 (talk) 08:00, 15 April 2011 (UTC)

Taking AC out of the US.
I am taking the "AC" out of Ford/Shelby for now. I don't recall "AC" ever being used, outside of it's history. We (US) had Austin-Healy, MG, and Triumph, but nobody had ever heard of AC, before or since. I doubt that Ford ever advertised it as AC. This has nothing to do with who designed/built/assembled it, only who got credit for it here. Sammy D III (talk) 17:33, 5 August 2015 (UTC)

Cobra being a muscle car
Hello. I've read blogs and talked to mechanics and they all said that the AC Cobra is a muscle car? Doesn't anyone one else except some blogs and friends believe in that? Thank you. (With preference I wish to speak to Bahooka.) — Preceding unsigned comment added by Muscle Car Driver (talk • contribs) 02:08, 5 November 2015 (UTC)
 * Thanks Muscle Car Driver for bringing up this topic here. I believe the Cobra is more frequently and correctly classified as a sports car rather than a muscle car. For example, see here and here. Bahooka (talk) 02:18, 5 November 2015 (UTC)
 * Ok. But please see here http://www.odometer.com/rides/5902/top-11-muscle-cars-of-the-60s-and-70s#page=1 and here http://www.carscoops.com/2011/03/1965-shelby-cobra-427-vs-ferrari-458.html (Muscle Car Driver (talk) 02:24, 5 November 2015 (UTC))

 * If you still think it's a sports car, why don't we compromise. We will add Sports car/ Muscle car. What do you think?

Thank you (Muscle Car Driver (talk) 02:30, 5 November 2015 (UTC))

 * Glad you brought some references, but I'll wait to hear from others before addressing a compromise. Also, please note that in the Muscle car Wikipedia article (I know Wikipedia is not a reference) it states that muscle cars "are distinct from two-seat sports cars and expensive 2+2 GTs intended for high-speed touring and road racing." I think the two-seat sports cars intended for road racing fits the Cobra better. Thanks, Bahooka (talk) 02:39, 5 November 2015 (UTC)
 * That is a good point, but it also says in muscle cars that: "muscle cars are intended for street use and occasional drag racing." Many Cobras where drag racing versions, and they were mostly street legal. Thank you. (Muscle Car Driver (talk) 02:46, 5 November 2015 (UTC))

 * It's a sports car, with a big V8. It's far too small to be a muscle car, to be a muscle car it should be a family car fitted with a large and powerful engine, or possibly a pony car, which is still a relatively inexpensive car based on components shared with family cars. The AC Cobra is no more a muscle car than a Corvette is. Spacecowboy420 (talk) 06:19, 5 November 2015 (UTC)

 * A muscle car is a small car with a big V8. Isn't that what you said?? How is a muscle car a family car when it's a two or 2+2 seater? Thank you, (Muscle Car Driver (talk) 13:04, 5 November 2015 (UTC))

 * Me? No, I said it's too small to be a muscle car and it doesn't have the humble origins required to be a muscle car. The classic definition of muscle cars are cars derived from family cars with powerful engines. Pony cars are another story, their definition is less clearly defined, but they also most certainly have the humble components from family cars combined with a relatively low price. The AC Cobra is neither based on a family car nor a pile of humble components & I'm guessing that it wasn't that cheap.
 * Not everything with a V8 crammed in it, is a muscle car. Spacecowboy420 (talk) 14:10, 5 November 2015 (UTC)

 * So what do you consider it? A hot rodded sports car? (Muscle Car Driver (talk) 14:22, 5 November 2015 (UTC))

 * I wouldn't use that as an official wikipedia category, but it sounds cool. Sports car seems to be the most accurate. Spacecowboy420 (talk) 14:55, 5 November 2015 (UTC)

 * Okay. It was nice talking to you. The Cobra will be a sports car then. (Muscle Car Driver (talk) 15:58, 5 November 2015 (UTC))

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Jõgeva County

Jõgeva County (Jõgeva maakond or Jõgevamaa) is one of 15 counties of Estonia. It is situated in eastern part of the country and borders Ida-Viru County to the north-east, Lake Peipus to the east, Tartu County to the south, Viljandi County to the south-west, Järva County to the north-west and Lääne-Viru County to the north.

History
Jõgeva County or Jõgevamaa was created January 1, 1990 from a parts of Viljandimaa and Tartumaa counties.

County government
The County government (Estonian: Maavalitsus) was led by a governor (Estonian: maavanem), who was appointed by the Government of Estonia for a term of five years. Since 2009 until 2018, the Jõgeva County governor position was held by Viktor Svjatõšev. From 01.01.2018 County governments were shut down in Estonia.

Municipalities
The county is subdivided into municipalities. There are three rural municipalities (Estonian: vallad – parishes) in Jõgeva County.

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

title: Jõgeva County


text:
Somatic nervous system

The somatic nervous system (SNS) is made up of nerves that link the brain and spinal cord to voluntary or skeletal muscles that are under conscious control as well as to skin sensory receptors. Specialized nerve fiber ends called sensory receptors are responsible for detecting information within and outside of the body.

The somatic nervous system, or voluntary nervous system is the part of the peripheral nervous system associated with the voluntary control of body movements via skeletal muscles. The movements of our arms, legs, and other body parts are among the functions that the somatic nervous system is in charge of and that we can consciously control. The somatic nervous system consists of nerves carrying afferent nerve fibers, which relay sensation from the body to the central nervous system (CNS), and nerves carrying efferent nerve fibers, which relay motor commands from the CNS to stimulate muscle contraction.

The a- of afferent and the e- of efferent correspond to the prefixes ad- (to, toward) and ex- (out of).

Structure
There are 43 segments of nerves in the human body. With each segment, there is a pair of sensory and motor nerves. In the body, 31 segments of nerves are in the spinal cord and 12 are in the brain stem. Besides these, thousands of association nerves are also present in the body.

Thus the somatic nervous system consists of two parts:
 * Spinal nerves: They are mixed nerves that carry sensory information into and motor commands out of the spinal cord. The spinal nerves serve as a bridge between the environment and the central nervous system (CNS). These neurons work together to transfer autonomic, sensory, and motor impulses from the spinal cord to the body's other systems. The spinal nerves are arranged into 31 pairs according to the regions of the spinal cord. To be more precise, there are eight pairs of cervical nerves (C1–C8), twelve pairs of thoracic nerves (T1–T12), five pairs of lumbar nerves (L1–L5), five pairs of sacral nerves (S1–S5), and one pair of coccygeal nerves. Peripheral nerves are included in the category of peripheral nervous system.

 * Cranial nerves: They are the nerve fibers that carry information into and out of the brain stem. They include smell, eye muscles, mouth, taste, ear, neck, shoulders, and tongue. Partially innervating the head and neck structures are the cranial nerves, which supply afferent and efferent functions. Neural processes connected to certain brainstem nuclei and cortical regions make up cranial nerves, in contrast to spinal nerves, which have neural fibers originating from the spinal grey matter as their roots. The cranial nerves VIII (vestibulocochlear), II (optic), and I (olfactory) are regarded as entirely afferent. The exclusively efferent cranial nerves are XI (spinal accessory), XII (hypoglossal), VI (abducens), IV (trochlear), and III (oculomotor). The remaining cranial nerves, X (vagus), IX (glossopharyngeal), VII (facial), and V (trigeminal), have mixed sensory and motor functions. Anatomically, cranial nerves are numbered from I to XII, which indicates their sequential origin from the caudal to the ventral brainstem. Alternatively, they can be postulated in groups based on the developmental functions they perform (sensory, motor, mixed).

Function
The somatic nervous system's principal goal is to facilitate the organs and striated muscles of the central nervous system so that we can carry out our daily responsibilities.

The primary motor cortex, or precentral gyrus, is home to the higher motor neurons that make up the basic motor pathway. These neurons transmit signals to the lower motor neurons in the spinal cord through axons known as the corticospinal tract. These impulses move to the neuromuscular junction (NMJ) of skeletal muscle via peripheral axons after synapsing with the lower motor neurons through the ventral horn of the spinal cord. A signal that travels to the NMJ, which innervates muscles, is produced by the release of acetylcholine by upper motor neurons. Acetylcholine binds to nicotinic acetylcholine receptors of alpha-motor neurons.

The somatic nervous system controls all voluntary muscular systems within the body, and the process of voluntary reflex arcs.

The basic route of nerve signals within the efferent somatic nervous system involves a sequence that begins in the upper cell bodies of motor neurons (upper motor neurons) within the precentral gyrus (which approximates the primary motor cortex). Stimuli from the precentral gyrus are transmitted from upper motor neurons, down the corticospinal tract, to lower motor neurons (alpha motor neurons) in the brainstem and ventral horn of the spinal cord: upper motor neurons release a neurotransmitter called glutamate from their axon terminal knobs, which is received by glutamate receptors on the lower motor neurons: from there, acetylcholine is released from the axon terminal knobs of alpha motor neurons and received by postsynaptic receptors (nicotinic acetylcholine receptors) of muscles, thereby relaying the stimulus to contract muscle fibers.

Reflex arcs
A reflex arc is a neural circuit that creates a more or less automatic link between a sensory input and a specific motor output. Reflex circuits vary in complexity—the simplest spinal reflexes are mediated by a two-element chain, of which in the human body there is only one, also called a monosynaptic reflex (there is only one synapse between the two neurones taking part in the arc: sensory and motor). The singular example of a monosynaptic reflex is the patellar reflex. The next simplest reflex arc is a three-element chain, beginning with sensory neurons, which activate interneurons inside of the spinal cord, which then activate motor neurons. Some reflex responses, such as withdrawing the hand after touching a hot surface, are protective, but others, such as the patellar reflex ("knee jerk") activated by tapping the patellar tendon, contribute to ordinary behavior.

Clinical Significance
A medical condition known as peripheral neuropathy affects the somatic nervous system's peripheral nerve fibers. They can be divided into congenital and acquired disorders based on the causes. They can also be categorized based on whether the myelin sheath(demyelinating neuropathy) or axons (axonal neuropathy) have the predominant disease. There is a wide range of causes for axonal peripheral neuropathy, most of which are toxic-metabolic in origin and include group B vitamin deficiencies and diabetes. Demyelinating neuropathies do not vary with length. They are frequently immune-mediated, which causes a more widespread involvement of sensorimotor function and an early loss of deep tendon reflexes. When joint position and vibratory sensory loss are present, sensory participation is more selective.

Defects in the central nervous system, peripheral nervous system, or muscle itself are the cause of numerous congenital illnesses of sensory and motor function. Owing to the vast territory encompassed by the somatic nerve system, these ailments may manifest as localized in nature, or as broad and systemic. Charcot-Marie-Tooth disease, Myasthenia gravis, and Guillain-Barre syndrome are a few instances of them.

Charcot-Marie-Tooth (CMT)
The Charcot-Marie-Tooth (CMT) disease group comprises diverse hereditary illnesses that manifest as chronic, progressive neuropathy that affects both the motor and sensory neurons.

Myasthenia Gravis (MG)
An autoimmune neurological condition called myasthenia gravis (MG) is typified by impaired neuromuscular junction communication.

Guillain-Barré syndrome (GBS)
A rare but dangerous post-infectious immune-mediated neuropathy is Guillain-Barré syndrome (GBS). It is brought on by an autoimmune reaction that destroys peripheral nervous system nerves, leading to symptoms including tingling, weakness, and numbness that can become paralysis.

Signs of Somatic Nervous System Problems
Depending on whether the damage is to the motor nerves, which regulate movement, or the sensory nerves, which affect the senses, the symptoms of a somatic nervous system problem can differ.

Damage to the motor nerves shows as:
 * Loss of movement control
 * Spasms or cramps in muscles
 * Tremors or twitching
 * Wasting of muscles (muscle shrinkage)

The following signs could be present if the sensory system is damaged:
 * Inability to feel things you touch
 * Numbness or tingling
 * Sharp or burning pain in the damaged area

Other animals
In invertebrates, depending on the neurotransmitter released and the type of receptor it binds, the response in the muscle fiber could either be excitatory or inhibitory. For vertebrates, however, the response of a skeletal striated muscle fiber to a neurotransmitter – always acetylcholine (ACh) – can only be excitatory.

title: Somatic nervous system


text:
Mike Clattenburg

Mike Clattenburg (born March 21, 1967) is a Canadian television and film director, producer and screenwriter. He is best known as creator, executive producer, writer and director of the TV comedy series Trailer Park Boys (2001–2008), for his work with This Hour Has 22 Minutes (2004), and as the co-creator of the Adult Swim series Black Jesus (2014–2019).

Early life
A native of Cole Harbour, a suburb of Halifax, Nova Scotia, Clattenburg spent his years after high school as drummer in a Police-inspired rock band, The Spawning Grunions.

He was formerly married to filmmaker Stephanie Joline from 2009 to 2015.

Career
Clattenburg's jump from music to television began with his co-hosting and production of a Halifax Cable 10 show, That Damn Cable Show, from 1990 to 1993. The program featured on-location interviews and profiles of Halifax entertainers, many of whom were acquaintances of Clattenburg's through his band contacts. Wedged in between the entertainer segments were comedic three-minute clips that displayed his early talent for irreverent film making. That Damn Cable Show was remarkable for its high production values despite being a local cable channel production on a shoestring budget, and made an early name for Clattenburg in film production circles.

Outgrowing the local cable television station, Clattenburg made the move to professional television production with work on comedy and drama programs at CBC Television, including Pit Pony, Street Cents, The Bette Show, and a variety of segments for Sesame Street. His credits include the direction of music videos for Gord Downie, Len, The Tragically Hip, comedy rap group Three Loco, and, most recently, a rap video for Far East Movement featuring Riff Raff of Three Loco.

In addition to Trailer Park Boys and its associated films Trailer Park Boys: The Movie, Trailer Park Boys: Countdown to Liquor Day and Trailer Park Boys 3: Don't Legalize It, Clattenburg also directed the films Afghan Luke and Moving Day, which were released in Toronto and Halifax on July 20, 2012, and the short film Crackin' Down Hard.

He is co-creator, executive producer, co-writer (along with Aaron McGruder), and director of the Adult Swim series Black Jesus, which premiered on August 7, 2014.

He is co-creator (along with Mike O'Neill from Trailer Park Boys), director and an executive producer of Canadian television comedy series Crawford, which premiered as a streaming video on February 2, 2018.

title: Mike Clattenburg


text:
Henry Sarwer-Foner

Henry Sarwer-Foner is a Canadian television director. He has won numerous Canadian Screen Awards, Gemini, DGC and Canadian Comedy Awards as the director of This Hour Has 22 Minutes, Made in Canada and Corner Gas.

In 2007 Henry Sarwer-Foner directed the CBC TV special Bob & Doug McKenzie's Two-Four Anniversary. The show featured notable guest appearances by Geddy Lee and others, with hosting by Canadian former prime minister Paul Martin.

Television

 * It's Only Rock & Roll - 1987
 * Street Cents - 1989
 * This Hour Has 22 Minutes - 1993-2004
 * Traders - 1997-1998
 * Made in Canada - 1998-2003
 * The Associates - 2001
 * Corner Gas - 2004
 * Rick Mercer Report - 2004 - 2018
 * Hatching, Matching and Dispatching - 2005
 * Bob & Doug McKenzie's Two-Four Anniversary - 2007
 * Less Than Kind - 2008
 * The Beaverton - 2016-2019

title: Henry Sarwer-Foner


text:
Talk:Zydeco

Wiki Education Foundation-supported course assignment
This article was the subject of a Wiki Education Foundation-supported course assignment, between 23 August 2021 and 8 October 2021. Further details are available on the course page. Student editor(s): JQGRAY. Peer reviewers: JCo0197.

Above undated message substituted from Template:Dashboard.wikiedu.org assignment by PrimeBOT (talk) 05:31, 18 January 2022 (UTC)

Untitled
Other sources (who?) have linked the term "zydeco" to an African language (which?) in which it means a particular sort of dance or rhythm. The derivation from "les haricots" may have been an in-joke. In the context of the more dominant Cajun culture, it makes a joking link to a well-known Cajun song or poetic phrase. Humour is notoriously difficult to analyse but, in this case, there seems to be a superficial self-deprecation while interpolating a word which has got a secret historic meaning for the minority group. The self-deprication comes in using a "mis-heard" term from the dominant language - implying a foolish ignorance.

Think about it - the word "zydeco" does not really sound like "les haricots" does it?
 * It does in a cajun accent. ;-) Terrapin 20:07, 8 Nov 2004 (UTC)
 * Zydeco certainly sounds like les haricot. The pronunciation is roughly "layz'areecoe".  Now the r in French is a guttural rolled sound and an English speaker is likely to try it with a palatal rolled r (like a Scot), which, when shortened, sounds somewhat like a "rd" (tongue slaps against the palate).  Hence the result is "zardeecoe" with very little "r" when said quickly, leading to "zadeecoe".  Michael Daly 22:49, 5 June 2007 (UTC)

 * The derivation sounds plausible to me, too, but you missed a point: Cajun French uses an alveolar trill, tap or flap in the first place (instead of a uvular rhotic, see ), which between vowels is easily heard as "d" by a speaker of American English.
 * There is a problem, though: The German Wikipedia claims that the term "Zodico" was used for the style of music already before 1965, and a quick Google search brought up the title of a record from 1955 which uses this term. --Florian Blaschke (talk) 16:31, 5 October 2010 (UTC)

 * Is there any reason to keep the claim that the word has some secret meaning. Sounds like some sort of whacko racist conspiracy theory. If no one can find a reference for this bizarre claim I reckon it should be removed. Kuratowski's Ghost 02:47, 7 Mar 2005 (UTC)

 * "Les Haricots Sont Pas Sale"

And this is why you should never leave off the diacritics. In this form it means "The beans are not dirty." I should hope not! Salé means salty or salted. Sale means dirty. Also, salé should be salés because the noun it describes (haricots) is plural. Oh, and haricot is just bean. Haricots verts is green beans. ShadowDragon 20:09, 21 Jun 2004 (UTC)

ShadowDragon, Dans les communités francophones en la Louisiane, on dit parfois seulement "haricots" pour les "haricots verts." Arthurian Legend 18:57, 24 September 2006 (UTC)

"across the U.S., in Europe, and Scandinavia." Scandinavia is, and always has been, a part of Europe.

Cleanup required
This article can be better organized, grammatically improved and should cite more source. Aaron charles (talk) 15:51, 28 December 2007 (UTC)
 * Agreed; I have reduced the excessive Lead section, created new sections/ headings and have started on the bare URL issue.--Soulparadox 07:41, 4 June 2012 (UTC)

In what language?
For people who are not acquainted with zydeco there must be some more details in this article...for example, in what language is written and sung most of zydeco music, in Louisiana French language or French Creole language? The same applies to cajun music. The article should have more details about the differences between cajun music, the people who play it and zydeco and its musicians. Amedee Ardoin seems to be seminal for both styles, this may be a little bit confusing for outsiders. Emerson

Too much history, too little technical info
This article really has nothing that actually identifies zydeco... all I'm seeing is a lot of historical info and a rundown of the instruments. Can something be added that explains what zydeco actually is and what distinguishes it from other folk music? -Rolypolyman (talk) 04:20, 10 March 2010 (UTC)
 * Actually because of the my comment and the preceding one I am going to put a cleanup flag in the article asking for more info. -Rolypolyman (talk) 04:22, 10 March 2010 (UTC)

 * I agree but am flying to England this aft, so won't have time to help. Here are some useful sources:

''Zydeco, the dance music of rural African-Americans of south Louisiana, is closely related to Cajun music, but with a slightly harder, rock-influenced edge. The best place to find the music is in one of the roadside dance halls where it is played on the weekends. Modern zydeco and Cajun music are both accordion-based, but zydeco tends to be faster and incorporate heavy percussion and electric instruments; electric guitars and washboards (called a frottoir), largely absent from Cajun music, are staples of zydeco. Zydeco bands often play soul- and rhythm and blues-inflected tunes sung in Creole French.'' https://archive.nytimes.com/www.nytimes.com/fodors/top/features/travel/destinations/unitedstates/louisiana/neworleans/fdrs_feat_110_8.html

''The Music: Zydeco Early zydeco was a blend of Louisiana French accordion music and Afro-Caribbean beats. It sat at the crossroads of Creole, Cajun, gospel and the blues, yet has since evolved to include influences from several other genres. Instrumentation almost always includes an accordion and a frottoir, a washboard worn like a vest. Guitar and drums typically add even more rhythm and syncopation to create a highly danceable mix.'' https://www.louisianatravel.com/music/articles/zydeco-music-louisiana

''Clifton Chenier and the Birth of Zydeco ''In the late 1950s, a Creole named Clifton Chenier, who fancied himself a bluesman, versus an old-fashioned player of French Music, began calling his music Zydeco. There are several explanations as to what the term actually means, but Chenier was the first one to match the term with the genre.

''His music was bluesy, syncopated and much different than the peppy, punchy sound that many people somehow associate with Zydeco. He blazed the trail and made it clear that the music was quite different than Cajun music.''

Current Trends in Cajun and Zydeco Nowadays, many of the most popular Cajun and Zydeco artists are actually coming back to a sound more influenced by traditional French Music. Bands frequently intermingle, sharing songs, instruments, and sounds. The genres of music are still distinctly different... it's just that now these differences are being embraced by both the musicians and the fans of the music.'' https://www.thoughtco.com/difference-between-cajun-music-and-zydeco-3552996

''ydeco, zarico, zodico, zologo, and even zukey jump represent a few of the spellings used by folklorists, ethnomusicologists, record producers, and filmmakers in their attempts to transcribe the word performers used to describe Louisiana's black French Creole music. The spelling zydeco was the first to appear in print, used by ethnomusicologist MacCormack in the early 1960s. Today it is the most widespread label and most record companies favor it.''

''Because its language is French or Creole, zydeco tradition has largely remained a mystery to outsiders. Folk spellings and folk etymologist often develop to explain or rationalize words and expressions whose origins or exact meanings have become unclear. Native Louisiana Creoles explain that the word zydeco comes from les haricots after the expression "Les haricots sont pas sale" ("The beans aren't salty"), heard in many of the tradition's songs. However recent studies based on early Louisiana recordings made by Alan and John Lomaz suggests that the term, as well as the tradition, may have African origins. The languages of West African tribes affected by the slave trade provide some clues as to the origins of zydeco. In at least a dozen languages from this culture-area of Africa, the phonemes "za," "re," and "go" are frequently associated with dancing and/or playing music.

''In South Louisiana, the meaning of zydeco has expanded (or survived) to refer to dance as a social event and dance styles as well as the music associated with them: Creoles go to a zydeco to dance the zydeco to zydeco music played by zydeco musicians. Used in an expanded way, as a verb, zydeco seems to have other meanings: "Let's zydeco them," or "Let's go zydeco." Community musicians are described as zydeco kings, queens, and princes. Community dance events, which provide the primary opportunity for courtship, are announced as zydecos. The word zydeco also refers to hard times and, by association, to the music that helped to endure them. In black American tradition, this music is called the blues, whether it be a "low-down" blues lament which relieves by purging, or a jumping, juking blues which relieves by distracting. Zydeco's bluesy side is sometimes based on melodies and rhythms of a delta blues tradition. Other times, an interesting confluence of European and Afro-Caribbean rhythms and sources produces haunting songs which function equally well as blues laments and as waltzes.''

Amédé Ardoin, the first black Creole musician to record in the late 1920s, figured prominently in the development of zydeco. ...continues.... http://www.louisianafolklife.org/LT/Articles_Essays/cajunzydeco.html

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Inadequate coverage of Acadian music in this article
It is very briefly mentioned but its significance is downplayed.

I am leaving for England today, so don't have time to get into this article, but someone might want to check out the book Acadian Driftwood.

''This book provides the history of Acadian and Cajun music from pre-expulsion to the revival of this music today, written by Paul-Emile Comeau, a direct descendant of the original French settlers and the premier historian of Acadian and Cajun music. He has written the National Geographic and Rough Guide encyclopedia entries for Acadian, Cajun, and Zydeco music. He has produced a 13-part series called the Connexion Acadiene for CBC radio and NPR.''

''In August 2014 at the Congres Mondial Acadien, the Acadian communities in Canada and the United States will commemorate the Grand Derangement (Expulsion) in 1755 when they were transported, under great duress, from their homes in Acadia to Louisiana. The Acadians were emigrants from France who settled in the Acadia region ( New Brunswick, Nova Scotia, and Maine) and built a rich culture there until the British expelled them during the French and Indian Wars. Their homes were burned, family members were separated, and they were scattered along the Eastern Seaboard, with the majority resettling in Louisiana, near Lafayette. Here the Acadians became Cajuns, developing their own language and a lively musical culture that evolved into Zydeco. The expulsion became the basis for Henry Wadsworth Longfellow s legendary poem, Evangeline and for the song Acadian Driftwood, written by Robbie Robertson and performed by The Band. American Songwriter magazine called Acadian Driftwood a masterpiece of Acadian music.'' https://books.google.ca/books?id=HTP8ngEACAAJ&dq=acadian+driftwood+comeau&hl=en&sa=X&ved=0ahUKEwiyk4CEyLfbAhUs7IMKHeHsD8AQ6AEIKTAA Peter K Burian (talk) 13:14, 3 June 2018 (UTC)

Different source says Zydeco began in Houston
In the fairly new book, "Houston Bound: Culture and Color in a Jim Crow City" (American Crossroads Book 41) Tyina L. Steptoe, the well-researched claim is that zydeco began in Houston's 5th ward, and spread to Lousiana from there. "Yet for Mack McCormick, the man who first used the word zydeco, the name referred to music from Fifth Ward. Over the years, McCormick began to resent efforts by the state of Louisiana to apply zydeco to music that developed east of the Sabine River. He created the modern spelling of zydeco in Frenchtown, and he intended the name to refer to that place. “When I’m talking about zydeco,” he wrote, “I’m talking about the music of Frenchtown . . . and the people who usurped that . . . were the Louisiana tourist commissions. . . . Louisiana’s very big on tourists, so when they put out a map that says rice country, zydeco country, jazz country, and they send three million copies of the map, it’s over.” — Preceding unsigned comment added by Alankjackson (talk • contribs) 21:09, 27 July 2020 (UTC)

Structural changes and content
Hi!

I will be working on this page over the next few weeks (or perhaps longer) as a part of an Information Literacy course I am taking at my university. I am pleased to have the opportunity to contribute to all that’s already been done, and look forward to getting to know those of you who are still active on this page.

I’ll drop more ideas here as they come to mind, but I think it would make sense to start simple with some priority items. I’m fairly new to this and I still have much to understand, so please feel free to respond with any concerns or corrections. I’m interested in working together to make this page as solid as it can be, and I’ll be learning a lot from you all in the process.

In the interest of standardizing, I’ve been looking at other music genre pages. Here are some changes I am thinking could improve the page:

Structure

 * Change “Musical style” to “Characteristics”.
 * Combine the two history sections into one section with subcategories
 * Instruments section is in an awkward place and contains information that overlaps heavily with musical style section. I think this section should either be moved or merged into “characteristics”.

Content

 * As another contributor mentioned above, the page is generally heavy in history and lacking in theory. I think it would be helpful for the characteristics section to go into detail on the qualities of zydeco that make it a distinct genre.
 * I think there should be a mention of the various ways the word zydeco can be used. It can refer to the music, the dance, or the event/party itself.
 * I think we should put some information in about zydeco dance and its associated steps. It’s a huge part of the music and culture, so it is important that it is given due weight.
 * The characteristics section should discuss lyrical content as well as common languages for zydeco vocals.
 * Currently, the za ré go word origin theory is stated as an alternative to les haricots. But these theories are not always presented as mutually exclusive. Some discuss the possibility that haricots came about as a natural transformation of za ré go into recognizable words by generations who did not know the West African origins.

Other

 * Needs many citations throughout.
 * Needs general copy editing.

I’ll post more as I think of other ideas, but figure it would be best to start simple with some of the formatting/structure issues. Again, please let me know if you think of anything, and I want to thank you all again for what you’ve done to build this page. I look forward to working with you all to continue moving this project in the right direction.

Best, JQGRAY (talk)

title: Talk:Zydeco


text:
Isidore Geoffroy Saint-Hilaire

Isidore Geoffroy Saint-Hilaire (16 December 1805 – 10 November 1861) was a French zoologist and an authority on deviation from normal structure. In 1854 he coined the term éthologie (ethology).

Biography
He was born in Paris, the son of Étienne Geoffroy Saint-Hilaire. In his earlier years he showed an aptitude for mathematics, but eventually he devoted himself to the study of natural history and of medicine, and in 1824 he was appointed assistant naturalist to his father. In 1829 he delivered for his father the second part of a course of lectures on ornithology, and during the following three years he taught zoology at the Athénée, and teratology at the École pratique.

He was elected a member of the French Academy of Sciences in 1833, was in 1837 appointed to act as deputy for his father at the faculty of sciences in Paris. During the following year he was sent to Bordeaux to organize a similar faculty there. He became successively; inspector of the academy of Paris (1840), professor of the museum on the retirement of his father (1841), inspector-general of the university (1844), a member of the royal council for public instruction (1845), and on the death of Henri Marie Ducrotay de Blainville, professor of zoology at the Faculty of Sciences (1850). In 1854 he founded the Société zoologique d'acclimatation (Zoological Acclimatization Society), of which he also served as president.

He conducted investigations of omphalosites, celosomia, hermaphroditism, etc., and is credited with introducing the term teratologie. From 1832 to 1837 he published his great teratological work, Histoire générale et particulière des anomalies de l’organisation chez l’homme et les animaux.

Legacy
Isidore Geoffroy Saint-Hilaire is commemorated in the scientific name of a species of turtle, Phrynops hilarii.

Selected works
Besides the above-mentioned work, he wrote: He was also the author of various papers on zoology, comparative anatomy and palaeontology.
 * Histoire générale et particulière des anomalies de l’organisation chez l’homme et les animaux (1832-1837).
 * Essais de zoologie générale (1841).
 * La vie Étienne Geoffroy Saint-Hilaire (1847).
 * Acclimatation et domestication des animaux utiles (1849).
 * Lettres sur les substances alimentaires et particulièrement sur la viande de cheval (1856).
 * Histoire naturelle générale des règnes organiques (3 vols., 1854–1862), which was not quite completed.

title: Isidore Geoffroy Saint-Hilaire


text:
Local zeta function

In number theory, the local zeta function $Z(V, s)$ (sometimes called the congruent zeta function or the Hasse–Weil zeta function) is defined as

 * $$Z(V, s) = \exp\left(\sum_{k = 1}^\infty \frac{N_k}{k} (q^{-s})^k\right)$$

where $V$ is a non-singular $n$-dimensional projective algebraic variety over the field $F_{q}$ with $q$ elements and $N_{k}$ is the number of points of $V$ defined over the finite field extension $F_{q^{k}}|undefined$ of $F_{q}$.

Making the variable transformation $t = q^{−s},$ gives

\mathit{Z} (V,t) = \exp \left( \sum_{k=1}^{\infty} N_k \frac{t^k}{k} \right) $$ as the formal power series in the variable $$u$$.

Equivalently, the local zeta function is sometimes defined as follows:

(1)\ \ \mathit{Z} (V,0) = 1 \, $$

(2)\ \ \frac{d}{dt} \log \mathit{Z} (V,t) = \sum_{k=1}^{\infty} N_k t^{k-1}\ .$$

In other words, the local zeta function $Z(V, t)$ with coefficients in the finite field $F_{q}$ is defined as a function whose logarithmic derivative generates the number $N_{k}$ of solutions of the equation defining $V$ in the degree $k$ extension $F_{q^{k}}.|undefined$

Formulation
Given a finite field F, there is, up to isomorphism, only one field Fk with

 * $$[ F_k : F ] = k \,$$,

for k = 1, 2, ... . When F is the unique field with q elements, Fk is the unique field with $$q^k$$ elements. Given a set of polynomial equations — or an algebraic variety V — defined over F, we can count the number

 * $$N_k \,$$

of solutions in Fk and create the generating function

 * $$G(t) = N_1t +N_2t^2/2 + N_3t^3/3 +\cdots \,$$.

The correct definition for Z(t) is to set log Z equal to G, so

 * $$Z= \exp (G(t)) \, $$

and Z(0) = 1, since G(0) = 0, and Z(t) is a priori a formal power series.

The logarithmic derivative

 * $$Z'(t)/Z(t) \,$$

equals the generating function

 * $$G'(t) = N_1 +N_2t^1 + N_3t^2 +\cdots \,$$.

Examples
For example, assume all the Nk are 1; this happens for example if we start with an equation like X = 0, so that geometrically we are taking V to be a point. Then

 * $$G(t) = -\log(1 - t)$$

is the expansion of a logarithm (for |t| < 1). In this case we have

 * $$Z(t) = \frac{1}{(1 - t)}\ .$$

To take something more interesting, let V be the projective line over F. If F has q elements, then this has q + 1 points, including the one point at infinity. Therefore, we have

 * $$N_k = q^k + 1$$

and

 * $$G(t) = -\log(1 - t) -\log(1 - qt)$$

for |t| small enough, and therefore

 * $$Z(t) = \frac{1}{(1 - t)(1 - qt)}\ .$$

The first study of these functions was in the 1923 dissertation of Emil Artin. He obtained results for the case of a hyperelliptic curve, and conjectured the further main points of the theory as applied to curves. The theory was then developed by F. K. Schmidt and Helmut Hasse. The earliest known nontrivial cases of local zeta functions were implicit in Carl Friedrich Gauss's Disquisitiones Arithmeticae, article 358. There, certain particular examples of elliptic curves over finite fields having complex multiplication have their points counted by means of cyclotomy.

For the definition and some examples, see also.

Motivations
The relationship between the definitions of G and Z can be explained in a number of ways. (See for example the infinite product formula for Z below.) In practice it makes Z a rational function of t, something that is interesting even in the case of V an elliptic curve over finite field.

The local Z zeta functions are multiplied to get global $$\zeta$$ zeta functions,

$$\zeta = \prod Z$$

These generally involve different finite fields (for example the whole family of fields Z/pZ as p runs over all prime numbers).

In these fields, the variable t is substituted by p−s, where s is the complex variable traditionally used in Dirichlet series. (For details see Hasse–Weil zeta function.)

The global products of Z in the two cases used as examples in the previous section therefore come out as $$\zeta(s)$$ and $$\zeta(s)\zeta(s-1)$$ after letting $$q=p$$.

Riemann hypothesis for curves over finite fields
For projective curves C over F that are non-singular, it can be shown that

 * $$Z(t) = \frac{P(t)}{(1 - t)(1 - qt)}\ ,$$

with P(t) a polynomial, of degree 2g, where g is the genus of C. Rewriting

 * $$P(t)=\prod^{2g}_{i=1}(1-\omega_i t)\ ,$$

the Riemann hypothesis for curves over finite fields states

 * $$|\omega_i|=q^{1/2}\ .$$

For example, for the elliptic curve case there are two roots, and it is easy to show the absolute values of the roots are q1/2. Hasse's theorem is that they have the same absolute value; and this has immediate consequences for the number of points.

André Weil proved this for the general case, around 1940 (Comptes Rendus note, April 1940): he spent much time in the years after that writing up the algebraic geometry involved. This led him to the general Weil conjectures. Alexander Grothendieck developed scheme theory for the purpose of resolving these. A generation later Pierre Deligne completed the proof. (See étale cohomology for the basic formulae of the general theory.)

General formulas for the zeta function
It is a consequence of the Lefschetz trace formula for the Frobenius morphism that

 * $$Z(X,t)=\prod_{i=0}^{2\dim X}\det\big(1-t \mbox{Frob}_q |H^i_c(\overline{X},{\mathbb Q}_\ell)\big)^{(-1)^{i+1}}.$$

Here $$X$$ is a separated scheme of finite type over the finite field F with $$q$$ elements, and Frobq is the geometric Frobenius acting on $$\ell$$-adic étale cohomology with compact supports of $$\overline{X}$$, the lift of $$X$$ to the algebraic closure of the field F. This shows that the zeta function is a rational function of $$t$$.

An infinite product formula for $$Z(X, t)$$ is

 * $$Z(X, t)=\prod\ (1-t^{\deg(x)})^{-1}.$$

Here, the product ranges over all closed points x of X and deg(x) is the degree of x. The local zeta function Z(X, t) is viewed as a function of the complex variable s via the change of variables q−s.

In the case where X is the variety V discussed above, the closed points are the equivalence classes x=[P] of points P on $$\overline{V}$$, where two points are equivalent if they are conjugates over F. The degree of x is the degree of the field extension of F generated by the coordinates of P. The logarithmic derivative of the infinite product Z(X, t) is easily seen to be the generating function discussed above, namely

 * $$N_1 +N_2t^1 + N_3t^2 +\cdots \,$$.

title: Local zeta function


text:
OSI (band)

OSI was an American progressive rock band, originally formed by Fates Warning guitarist Jim Matheos in 2002. Chroma Key keyboardist and vocalist Kevin Moore is the only other full-time member of the band. The collaboration may be considered a studio project, as its members and contributors write and track most of their material independently, sharing and developing tracks long-distance, only coming together at the end of the process for mixing and additional tracking. The band's name is a reference to the Office of Strategic Influence, a short-lived American government agency formed in 2001 to support the War on Terror through propaganda. The band has featured a number of guest musicians on its albums, including Sean Malone, Steven Wilson, Mikael Akerfeldt, Joey Vera and Gavin Harrison.

Matheos recruited Moore, Dream Theater's drummer Mike Portnoy, and Sean Malone (Fretless Bass and Chapman Stickist) to perform on what was originally planned to be a Matheos solo album. Matheos and Portnoy originally planned to produce a progressive metal album similar to Matheos' work in Fates Warning, however Moore's impact changed the music's direction and genre, incorporating electronica into the original progressive metal sound. The band's debut album was released by InsideOut Music in 2003.

OSI was originally intended to be a one-off project, but Matheos and Moore found they both had gaps in their schedules so produced a follow-up. Free was released in 2006, with Portnoy returning to play drums as a session musician rather than a full band member, due to personal and musical differences between him and Moore. Blood was released in 2009, with Porcupine Tree drummer Gavin Harrison replacing Portnoy. The fourth album Fire Make Thunder was released in 2012 by Metal Blade Records, with Harrison once again on drums.

Formation and Office of Strategic Influence (2002–2003)
Fates Warning guitarist Jim Matheos originally intended to create a progressive metal supergroup while Fates Warning went on hiatus. He recruited Cynic & Gordian Knot fretless bass and Chapman Stickist Sean Malone and Dream Theater drummer Mike Portnoy to work on the project. Matheos then asked Chroma Key and ex-Dream Theater keyboardist Kevin Moore to contribute by adding keyboard arrangements to the music he had written. Moore instead heavily edited the music, changing the song structures and adding vocals. Matheos decided to pursue this new direction, sounding closer to Chroma Key than standard progressive metal, over his and Portnoy's original idea.

Many vocalists were considered to perform on the album; Matheos and Portnoy briefly considered having a different vocalist perform on each track. Daniel Gildenlöw of Pain of Salvation wrote some vocal melodies and lyrics, but Moore ultimately performed most of the vocals and wrote most of the lyrics. Steven Wilson of Porcupine Tree wrote lyrics and performed vocals on one track. Cynic and Gordian Knot bassist Sean Malone performed bass, but was credited as a guest musician because his schedule meant he was unable to join Matheos, Moore and Portnoy for the basic tracking sessions.

Matheos, Moore and Portnoy recorded the album at Carriage House Studios in Stamford, Connecticut from June 2 to 9, 2002. Songs with a strong progressive metal influence were mostly written by Matheos, while Moore had greater influence over the vocal-driven tracks. Portnoy made minor arrangement suggestions but did not take part in the actual writing of the album. The album's recording sessions were the first time Moore and Portnoy collaborated since 1994 in their work in Dream Theater. In 2009, Portnoy recalled that he found the experience of making the record difficult, and that he was frustrated by the lack of collaboration between him and Moore. Differences between Moore and Portnoy led to his return on the follow-up album as a session drummer rather than full-time member.

InsideOut Music released Office of Strategic Influence on February 17, 2003. Moore chose the group's name and album's title, referring to the Office of Strategic Influence, established by the US Government after the September 11 attacks to spread propaganda. The album was critically well received. Critics praised the members' musicianship and the fact that the album differed significantly from the members' other projects.

Free and Blood (2005–2009)
Matheos and Moore did not plan to make a second OSI album, and returned to their own projects after the first album's completion. In 2005, they both had free schedules, so decided to produce a follow-up album. Joey Vera (also of Fates Warning) played bass on the album. Portnoy originally told Matheos and Moore that he did not want to perform drums on the album, but was persuaded to perform on the album as a session musician.

Free was released on April 24, 2006, receiving generally positive critical reception. Critics noted that the album was darker and more keyboard-focused than the band's debut. re:free, an EP featuring remixes of three tracks from Free, was released on October 24, 2006. The band were keen to tour in support of Free, but no live shows materialised. "The reality of it is in order to [tour] the way we would like... and present it the way we would want to present it... would cost too much money for the kind of fan base that we have right now," Matheos said in 2009. In 2010 he anticipated that OSI will "remain a studio band."

In September 2008, Moore posted an update on the Chroma Key website, stating that he and Matheos had been working on a third OSI album for several months. Portnoy was replaced by Porcupine Tree drummer Gavin Harrison and Matheos played bass on the album. Opeth vocalist and guitarist Mikael Åkerfeldt and No-Man vocalist Tim Bowness wrote lyrics and sang on one track each.

Blood was released on April 27, 2009 in Europe and May 19 in North America. The album received positive reviews: Andrew Reilly of Madeloud said that "with Blood the two have finally found the stylistic fusion their first two discs hinted at", and praised Harrison's drumming.

Fire Make Thunder (2010–2012)
In 2010, OSI signed with Metal Blade Records. The label reissued Office of Strategic Influence on September 28, 2010.

Written and recorded throughout most of 2011, OSI's fourth album "Fire Make Thunder" was released on March 27, 2012. Gavin Harrison of Porcupine Tree was once again enlisted as session drummer along with a co-writing credit for the song "Enemy Prayer". All other instruments and programming were performed by Matheos and Moore, while lyrics and vocals were handled exclusively by Moore. The recordings for the album, with the exception of drums, were performed at the musician's respective home studio. In July 2011 at Sound Farm Studio & Recording Environment final overdubs as well as some additional writing and arranging were completed. The band mixed the album alongside engineer Matt Sepanic. Engineer Roger Siebel handled the final mastering. The record was produced by both Moore and Matheos. During the development process, Kevin Moore kept frequent updates referring to the mixing process of the album on his official Facebook and Twitter accounts.

Hiatus (2013–present)
On the current status of O.S.I., co-founder and lead guitarist Jim Matheos offered the following quote in a June 2016 interview about the possibility of a future album, "No, as I just said it's the same situation with John. Kevin and I are both busy doing other things. I believe Kevin is experimenting and working on some Chroma Key material right now, so who knows… In the future I would love to do it and if it happens that's great, but there are no plans right now. My main focus for at least the rest of this year and probably next year is going to be Fates Warning."

Musical style
Moore has described OSI's sound as "a new approach to progressive rock", combining elements of progressive metal and electronica. Moore considers the two genres to be "almost natural enemies", and that the conflict between the two genres "keeps [the music] interesting". Matheos cites progressive rock and heavy metal bands such as Genesis, Jethro Tull, Black Sabbath and UFO as influences. Moore described his influences as minimal techno, experimental, electronic musicians and "bands that play live and then chop it up".

Matheos and Moore primarily work alone, exchanging files and ideas by email. The writing process for all OSI's albums has been the same, with Matheos sending Moore an idea "from just a guitar riff to elaborate, almost completed songs", which Moore then edits and sends back to Matheos. Moore, the band's vocalist and lyricist, has described the process of writing lyrics as an "audio Rorschach test". The lyrics on Office of Strategic Influence feature political themes, but the lyrics on later releases are less political, instead being based on Moore's personal experiences. "I'll start writing a song that has a little bit of a world view or political view or something," he said, "but then by the time I'm finished the lyrics it'll be about a relationship or something like that." On Blood, Moore largely abandoned his earlier stream-of-consciousness approach to writing lyrics, in an attempt to make the lyrics more coherent. "I didn't want it to be like 'Oh, you get your own impression of the lyrics. Everybody has their own idea!' I wanted to have an idea that I wanted to communicate, and something communicable," he explained.

Moore has acknowledged the narrow range of his vocals. He considers his vocal style to "[come] from how I feel when I'm singing, when I'm in the zone of writing lyrics and recording which, a lot of times, comes as the same time. It's sort of an introspective time. A lot of the material lends itself to that kind of voice and that kind of spirit."

Members

 * Current members
 * Jim Matheos (Fates Warning) – guitars, bass (since Blood), keyboards, programming
 * Kevin Moore (Chroma Key, ex-Dream Theater) – vocals, keyboards, programming

 * Former members
 * Mike Portnoy (Dream Theater) – drums on Office of Strategic Influence as a full band member and on Free as a session musician

 * Guest musicians
 * Gavin Harrison (Porcupine Tree) – drums on Blood and Fire Make Thunder
 * Sean Malone (Gordian Knot, Cynic) – bass, Chapman Stick on Office of Strategic Influence
 * Joey Vera (Fates Warning) – bass on Free
 * Steven Wilson (Porcupine Tree) – vocals on the track "shutDOWN" on Office of Strategic Influence
 * Tim Bowness (No-Man) – vocals on the track "No Celebrations" on Blood
 * Mikael Åkerfeldt (Opeth) – vocals on the track "Stockholm" on Blood

title: OSI (band)


text:
Lautaro Lodge

The Lautaro Lodge (Logia Lautaro) was a revolutionary secret lodge active in Latin American politics in the 19th century. It was initially known as the Lodge of Rational Knights (Logia de los Caballeros Racionales). Its initial purposes were to apply the goals of the Spanish Enlightenment, and when Spain began the Absolutist Restoration they promoted instead the emancipation of the South American colonies.

Creation in Europe
It was for many years believed to have been founded as an extension of the British lodge "The Great American Reunion", created by Venezuelan revolutionary Francisco de Miranda. However, recent research suggests that the Lodge was founded in Cadiz, Spain, and that Miranda was not amongst its founders, as he himself was living in Paris at the time, from where he returned to London in January 1798. As with other secret societies, such details are difficult to investigate by historians, given the secrecy of their activities. Both lodges had just a superficial compromise with freemasonry, taking advantage of their secret societies merely as a tool to promote liberal agendas, evading punishment from absolutist governments of the time.

Buenos Aires
A number of officers from the Peninsular War, such as José de San Martín, Carlos María de Alvear, José Matías Zapiola, Francisco Chilavert and Eduardo Kailitz left Cádiz and moved to Buenos Aires. They began to organize a secret lodge, similar to the one in Cádiz. There were other secret lodges already working in Buenos Aires: the anglophile lodges "Hiram sons" and "Southern Star", and the "Patriotic Society" that united the former supporters of Mariano Moreno. This last lodge, opposed to the first two ones, was integrated into the new one created by the Spanish generals.

Name
Although the lodge is most commonly known as "Lautaro", it did not employ that name during all of its existence. The name made reference to Mapuche leader Lautaro, which made sense in Santiago de Chile in the 1817-1820 period, but not in Buenos Aires in 1812 and much less in Europe. Historian Vicente Fidel López points that "Lautaro" was really a masonic code meaning "Expedition to Chile", but similarly, Chile was not a military target for Buenos Aires in 1812. By that point, Chile was still in the Patria Vieja period, and would not fall into royalist control until the 1814 Disaster of Rancagua. Although the secrecy makes difficult to investigate the purposes or even the name, Alcibíades Lappas considers instead that the lodge was named "Lodge of Rational Knights" in 1812, just like the Cádiz one, and that San Martín renamed it "Lautaro" when he recreated it in 1815, after the fall of Alvear.

title: Lautaro Lodge