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List of classical music genres

This is a list of musical genres within the context of classical music, organized according to the corresponding periods in which they arose or became common.

Various terms can be used to classify a classical music composition, mainly including genre, form, compositional technique and style. While distinct, these terms have broad, sometimes overlapping definitions and are occasionally used interchangeably. The genre categorizes a piece based on a shared tradition or an overarching set of conventions, like opera or symphony. Form refers to its structural aspects, the way its individual sections are constructed and how they relate to each other, such as binary form, rondo or sonata form. Compositional techniques involve specific methods of composition, such as canon, fugue or twelve-tone technique. Style indicates the distinctive characteristics of a particular composer or historical period, like Baroque or Romantic, placing the composition within a broader cultural and chronological context and linking it to artistic movements and historical events that influenced its creation.

Some forms and compositional techniques occasionally also give name to the compositions based on them, such as rondo or canon. This does not occur in other cases such as strophic, binary, ternary or arch forms. A notable source of confusion is the term 'sonata': as a genre, it denotes a multi-movement composition for one or more solo instruments, while in structural terms, 'sonata form' refers to a specific three-part structure (exposition, development, recapitulation) frequently used within individual movements of larger works.

Historically, genres emerged from a fusion of social functions and compositional conventions and served as communicative tools that guided listeners' experiences and responses. Because genres are defined not only by their musical elements but also by social contexts, functions, and validation by specific communities, their definitions are subject to change as these validating communities evolve even if the musical notes themselves remain unchanged. Historically rooted in social functions and compositional norms, by the 19th century and especially in the 20th century genres evolved from serving clear functions to highlighting individual features, thus emphasizing individual artist expression.

In summary, genre is a broader term and often refers to the overall style, structure, cultural context, or purpose of the music. For example, a rondo is based on alternation between familiar and novel sections (e.g. ABACA structure); a mazurka is defined by its distinctive meter and rhythm; a nocturne is based on the mood it creates, required to be inspired by or evocative of night.

Medieval

 * Ambrosian chant – Monophonic liturgical music used in the liturgy of the Ambrosian Rite.
 * Ballade – French poetic-musical form.
 * Ballata – Medieval Italian poetry accompanied by music.
 * Canso – Song of troubadour tradition.
 * Cantiga – Monophonic song of Spanish or Portuguese origin, often about religious themes or courtly love.
 * Conductus – Latin sacred song, monophonic or polyphonic non-liturgical vocal composition.
 * Descant – Form where one singer performed a fixed melody while others improvised harmonious and melodically independent lines.
 * Geisslerlied – Penitential songs sung by the flagellant groups in the mid-14th century.
 * Gregorian chant – Monophonic liturgical music used in the Roman Catholic liturgy.
 * Gymel – Form of English origin where a single voice part splits into two equal ranges, singing different but converging lines.
 * Lai – Lyrical, narrative poem written in octosyllabic couplets that often deals with tales of adventure and romance.
 * Lauda – Devotional song popular in the medieval Italian church.
 * Motet – Polyphonic choral composition based on a sacred text.
 * Mozarabic chant – Monophonic liturgical music used in the liturgy of the Mozarabic Rite.
 * Organum – Early form of polyphonic music involving the addition of one or more voices to a preexisting chant.
 * Planctus – Composition mourning the death of a notable figure, often in a liturgical context, similar in function to a dirge.
 * Rondeau – French poetic-musical form.
 * Trecento Madrigal – Secular polyphonic vocal composition.
 * Virelai – French poetic-musical form.

Dance forms

 * Estampie – Dance and instrumental genre characterized by repeated sections, each played with different endings.
 * Saltarello – Lively, fast-paced Italian dance, often characterized by its jumping or leaping steps.

Renaissance

 * Canzona – Polyphonic instrumental or vocal composition originating in Italy, characterized by a contrapuntal style.
 * Canzonetta – Short, light, and usually simple song or instrumental piece.
 * Carol – A festive song, generally religious but non-liturgical, often with a dance-like or popular character.
 * Chanson – French song, typically polyphonic and secular.
 * Ensalada – Polyphonic composition, combining several different texts, both sacred and secular, and languages in a single composition.
 * Fantasia – Composition with a free form and often improvisational style.
 * Chromatic fantasia – Type of fantasia known for its use of chromaticism and often complex, highly expressive melody lines.
 * Frottola – Italian secular song.
 * Intermedio – Theatrical performance with music performed between the acts of a play to celebrate special occasions in Italian courts.
 * Lauda – Devotional song popular in the medieval Italian church.
 * Madrigal – Polyphonic musical setting of poetry, usually sung without instrumental accompaniment.
 * Madrigal comedy – Collection of madrigals arranged to tell a story, often comic or satirical
 * Madrigale spirituale – Type of Italian madrigal adapted for religious texts.
 * Mass – Sacred musical composition of the Eucharistic liturgy.
 * Cyclic mass – A mass where the various movements are united by a common musical theme.
 * Parody mass – A mass where an existing piece of music, often a secular chanson or motet, is reworked into a liturgical context.
 * Paraphrase mass – A mass that uses as its basis an elaborated version of a cantus firmus, typically from plainsong.
 * Motet – Polyphonic choral composition based on a sacred text.
 * Motet-chanson – Hybrid form combining elements of the motet and the chanson.
 * Opera – Dramatic work in one or more acts, set to music for singers and instrumentalists.
 * Ricercar – Instrumental composition featuring imitative counterpoint.
 * Sequence – Chant or hymn sung or recited during the liturgical celebration, typically following the Alleluia.
 * Tiento – Form of keyboard music similar to the fantasia, known for its intricate counterpoint.
 * Toccata – Piece typically for a keyboard or plucked string instrument, characterized by fast-moving or virtuosic passages.
 * Villancico – Spanish song or lyrical poetry, often associated with rustic and popular themes.
 * Villanella – Rustic, often lively Italian song.

Dance forms

 * Branle – Lively French dance.
 * Galliard – Lively dance in triple meter.
 * Pavane – Slow processional dance.
 * Tourdion – Fast-paced French dance, typically performed after a slower dance.

Baroque

 * Air – Song-like instrumental piece.
 * Air à boire – Drinking song, typically French.
 * Anthem – Composition of celebration, typically a choral work with religious or patriotic connotations.
 * Coronation anthem – Choral composition written to accompany the coronation of a monarch.
 * Aria – Self-contained piece for one voice, usually with orchestral accompaniment.
 * Arioso – Vocal piece, more melodic than recitative but less than an aria.
 * Concert aria – Aria written specifically for performance in concert rather than as part of an opera.
 * Da capo aria – Aria structured in an ABA format, where the opening section is repeated after an intervening contrasting section.
 * Badinerie – Form with light, playful character, often quite brief and usually included at the end of a Baroque suite.
 * Canon – Contrapuntal composition in which a single melody is imitated by successively entering voices.
 * Crab canon – Canon where one line is the retrograde of another, reading the same backwards and forwards.
 * Mirror canon – Canon with one voice inversely mirroring the intervals of another.
 * Perpetual canon – Canon where the voices sing the same melody in unison, starting at different times, creating a harmonious overlap that can be repeated indefinitely. A catch is a subtype of this canon.
 * Prolation canon – Canon where the same melody is performed at different speeds or note values by different voices.
 * Table canon – Retrograde and inverse canon, combination of Crab and Mirror canons.
 * Cantata – Vocal composition with instrumental accompaniment often based on a religious text.
 * Chaconne – Musical form based on a repeating harmonic progression, often featuring variations over a bass ostinato.
 * Chorale or Chorale setting – Form originating or related to the Lutheran chorale.
 * Lutheran chorale – Musical setting of a Lutheran hymn.
 * Chorale cantata – Church cantata based on a chorale.
 * Chorale concerto – Short sacred composition for one or more voices and instruments.
 * Chorale fantasia – Composition that elaborates on a chorale melody, often with intricate counterpoint.
 * Chorale monody – Chorale for solo voice and accompanying instruments, usually basso continuo.
 * Chorale motet – Composition with chorale and motet characteristics.
 * Chorale partita – Large-scale variation of the chorale prelude.
 * Chorale prelude – Short liturgical composition for organ using a chorale tune as its basis, common in Lutheran services.
 * Cibell – Gavotte-like piece in duple metre.
 * Concerto – Musical work where one or more solo instruments are contrasted with an orchestra.
 * Concerto grosso – Form in which the musical material is passed between a small group of soloists and full orchestra.
 * Concerto da camera – Concerto with the character of a dance suite, introduced by a prelude.
 * Concerto da chiesa – Concerto with formal character and alternating slow and fast movements.
 * Solo concerto – Concerto for a single soloist.
 * Double concerto – Concerto for two soloists.
 * Triple concerto – Concerto for three soloists.
 * Fugue – Complex contrapuntal composition in which a single theme or subject is introduced by one part and successively taken up by others.
 * Hymn – A religious song of praise.
 * Invention – Short composition in two-part counterpoint, usually for a keyboard instrument.
 * Lament – Song expressing grief or sorrow.
 * Mass – Sacred musical composition of the Eucharistic liturgy.
 * Motet – Polyphonic choral composition based on a sacred text.
 * Opera – Dramatic work in one or more acts, set to music for singers and instrumentalists.
 * Opera buffa – Genre of opera characterized by light, humorous, and often satirical themes.
 * Opera seria – Genre of opera with serious, often tragic themes.
 * Semi-opera – Genre that blends spoken drama with musical interludes and elaborate staging.
 * Oratorio – Large composition for orchestra, choir, and soloists, typically based on a religious theme.
 * Part song – Secular choral work, typically a cappella.
 * Glee – English part song of respectable and artistic character and often composed for male voices only.
 * Partita – Suite of instrumental or vocal pieces, often consisting of dance movements.
 * Passacaglia – Musical form similar to a chaconne, consisting of variations over a ground bass.
 * Passion – Musical setting of the Passion of Christ.
 * Pastorale – Musical form depicting pastoral scenes, often characterized by a gentle, lyrical melody.
 * Prelude – Short, improvisatory-style piece, often serving as an introduction to a longer piece.
 * Prelude and fugue – Pairing of two compositions, a prelude and a fugue.
 * Unmeasured prelude – Free-form, non-metric instrumental composition, often for keyboard.
 * Quodlibet – Composition combining several different melodies, often popular tunes, in counterpoint.
 * Siciliana – Slow piece often in a minor key, characterized by dotted rhythms and a pastoral mood.
 * Sinfonia – Orchestral piece, often serving as the introduction, interlude, or postlude of a larger work.
 * Sonata – Composition for one or more instruments, typically in three or four movements.
 * Flute sonata – Sonata specifically composed for the flute.
 * Sonatina – Short sonata, often simpler in structure and melody, used as a teaching tool or for less formal occasions.
 * Trio sonata – Form of sonata for two melodic instruments and basso continuo.
 * Suite – Set of instrumental compositions, typically in dance form, played in a sequence.
 * Toccata – Piece typically for a keyboard or plucked string instrument, characterized by fast-moving or virtuosic passages.
 * Tombeau – Composition commemorating the death of a notable individual.
 * Voluntary – Free form piece, usually for organ, played as part of a church service.
 * Trumpet voluntary – Voluntary intended to be played using the organ trumpet stop.

Dance forms

 * Allemande – Folk German dance in quadruple meter, often the first movement of a Baroque suite.
 * Bourrée – French dance in double meter with a characteristic upbeat.
 * Canary – Fast, lively dance originating from the Canary Islands, known for its quick, jumping steps.
 * Courante – Elegant French dance in triple meter, often included in Baroque suites.
 * Fandango – Rhythmic Spanish dance.
 * Furlana – Fast Venetian folk dance with lively tempo and rhythm.
 * Galliard – Spirited dance in triple meter.
 * Gavotte – French folk dance in quadruple meter, often with a moderate to quick tempo, and with a characteristic half-bar upbeat.
 * Gigue – Lively baroque dance originating from the British jig, typically in compound meter.
 * Loure – Slow French dance, often included in the Baroque suite.
 * Minuet – Graceful, elegant dance in triple meter, often included in Baroque suites.
 * Musette (dance) – French dance with a moderate tempo, characterized by a pastoral melody often imitating the sound of a bagpipe.
 * Passepied – Fast French court dance in binary form and triple meter, often included in late Baroque suites.
 * Rigaudon – Lively French dance in duple meter, characterized by its bright rhythm and simple structure.
 * Sarabande – Slow Spanish dance in triple meter, often included in Baroque suites.
 * Tambourin – Lively Provençal dance in duple meter.

Classical and Romantic

 * Arabesque – Composition with a flowing and ornate style, inspired by Arabic architecture.
 * Art song – Musical setting of a poem or text usually written for one voice with piano accompaniment.
 * Lied – German art song.
 * Mélodie – French art song.
 * Song cycle – Group of songs designed to be performed in a sequence as a single entity.
 * Aubade – Song or instrumental composition concerning morning love or lovers separating at dawn.
 * Bacchanale – Composition with a wild, spirited character, often evoking a bacchanal.
 * Bagatelle – Short, light instrumental composition.
 * Ballade – Instrumental composition that follows a narrative style, often lyrical and expressive.
 * Barcarolle – Song or instrumental piece in a distinctive rhythm, traditionally associated with Venetian gondoliers.
 * Berceuse – Composition resembling a lullaby, often calm and soothing.
 * Burlesque – Composition intended to cause laughter by caricaturing the manner or spirit of serious works.
 * Caprice – Lively piece, typically free in form and of a light, playful character.
 * Carol – Festive folk song or popular hymn, often of religious nature.
 * Cassation – Serenade-like instrumental composition.
 * Chamber music for ensemble – Compositions written a small group of musicians.
 * Duet – Composition for two instruments or voices.
 * Piano four hands – Piano duet involving two players playing the same piano simultaneously.
 * Trio – Composition for three instruments or voices.
 * Piano trio – Composition for piano and two other instruments.
 * String trio – Composition for three string instruments, often being a violin, viola, and cello.
 * Quartet – Composition for four instruments or voices.
 * Piano quartet – Composition for piano and three other instruments.
 * String quartet – Composition for four string instruments.
 * Oboe quartet – Composition for oboe and three other instruments.
 * Quintet – Composition for five instruments or voices.
 * Piano quintet – Composition for piano and four other instruments.
 * String quintet – Composition for five string instruments.
 * Wind quintet – Composition for five wind instruments.
 * Sextet – Composition for six instruments or voices.
 * Piano sextet – Composition for piano and five other instruments.
 * String sextet – Composition for six string instruments.
 * Septet – Composition for seven instruments or voices.
 * Octet – Composition for eight instruments or voices.
 * String octet – Composition for eight string instruments.
 * Nonet – Composition for nine instruments or voices.
 * Concert aria – Standalone aria or operatic song written specifically for a solo singer and orchestra.
 * Concerto – Musical work where one or more solo instruments are contrasted with an orchestra.
 * Cello concerto – Concerto for solo cello and orchestra.
 * Clarinet concerto – Concerto for solo clarinet and orchestra.
 * Double bass concerto – Concerto for solo bass and orchestra.
 * Flute concerto – Concerto for solo flute and orchestra.
 * Oboe concerto – Concerto for solo oboe and orchestra.
 * Piano concerto – Concerto for piano and orchestra.
 * Trumpet concerto – Concerto for solo trumpet and orchestra.
 * Viola concerto – Concerto for solo viola and orchestra.
 * Violin concerto – Concerto for solo violin and orchestra.
 * Divertimento – Light and entertaining composition intended for amusement or diversion.
 * Étude – Composition designed to provide practice in a particular technical skill in playing an instrument.
 * Fanfare – Short, lively piece, typically for brass instruments, with bold and triumphant character.
 * Fantasia – Composition with a free form and often improvisational style.
 * Funeral march – Slow march, usually in a minor key, imitating the solemn pace of a funeral procession.
 * Impromptu – Short instrumental piece, typically for the piano, suggestive of improvisation.
 * Intermezzo – Short, light piece, often serving as a break between sections of a larger work.
 * Mass – Sacred musical composition of the Eucharistic liturgy.
 * Missa brevis – Short mass composition, where part of the text of the Mass ordinary is left out, or its execution time is relatively short.
 * Missa solemnis – Solemn mass composition, often elaborate and extended.
 * Requiem – Mass for the dead set to music.
 * March – Piece with a strong regular rhythm, frequently performed by a military band.
 * Nocturne – Composition that is inspired by, or evocative of, the night.
 * Opera – Dramatic work in one or more acts, set to music for singers and instrumentalists.
 * Ballad opera – Genre of English stage entertainment using popular songs and spoken dialogue.
 * Opera buffa – Genre of opera characterized by light, humorous, and often satirical themes.
 * Opéra comique – French opera genre featuring both sung and spoken dialogue.
 * Opera seria – Genre of opera with serious, often tragic themes.
 * Operetta – Short opera, usually light-hearted and often containing spoken dialogue.
 * Overture – Instrumental composition serving as an introduction to an opera or ballet.
 * French overture – Overture with a slow introduction followed by a faster section.
 * Italian overture – Overture in three fast-slow-fast sections.
 * Pasticcio – Opera made up of various pieces from other compositions.
 * Singspiel – Form of German light opera, typically with spoken dialogue.
 * Zarzuela – Spanish lyric-dramatic genre that incorporates operatic and popular songs, as well as dance.
 * Oratorio – Large composition for orchestra, choir, and soloists, typically based on a religious theme.
 * Prelude – Short, improvisatory-style piece, often serving as an introduction to a longer piece.
 * Rhapsody – Single-movement composition with episodic structure, contrasting moods, and an improvisational, free-flowing style.
 * Rondo – Form characterized by a recurring theme alternating with different contrasting sections.
 * Scherzo – Light, joking or playful piece, often a part of larger works.
 * Serenade – Light, lyrical, often romantic composition for voice or instrument.
 * Sinfonia concertante – Composition for orchestra and a group of solo instruments, typically in symphony form.
 * Sonata – Composition for one or more solo instruments, typically structured in several movements.
 * Bassoon sonata – Sonata for solo bassoon, often accompanied by piano.
 * Cello sonata – Sonata for solo cello, often accompanied by piano.
 * Clarinet sonata – Sonata for solo clarinet, often accompanied by piano.
 * Flute sonata – Sonata for solo flute, often accompanied by piano.
 * Piano sonata – Sonata for solo piano.
 * Viola sonata – Sonata for solo viola, often accompanied by piano.
 * Violin sonata – Sonata for solo violin, often accompanied by piano.
 * Symphonic poem – Orchestral composition based on an extra-musical narrative, often a literary or pictorial idea.
 * Symphony – Large-scale composition, typically for an orchestra and often in four movements.
 * Choral symphony – Symphony that incorporates a choir and vocal soloists along with the orchestra.
 * Program symphony – Symphony with an extra-musical narrative guiding its structure and nature.
 * Suite – Set of instrumental compositions, typically in dance form, played in a sequence.
 * Theme and variations – Form where a main theme is followed by a series of variations that alter its melody, harmony, rhythm, or timbre.
 * Double variation – Composition where two themes are alternated and varied.
 * Threnody – Song composed as a memorial to a dead person.

Dance forms

 * Ballet – Composition designed to accompany a choreographed dance performance.
 * Bolero – Dance form originating from Spain, characterized by a steady rhythm and typically in a moderate tempo.
 * Can-can – Dance characterized by a rapid, galloping rhythm and strong, accented beats.
 * Contradanse – Folk dance originating in England and France featuring repeated execution of a sequence of figures.
 * Csárdás – Hungarian folk dance characterized by a variation in tempo, starting out slowly and ending in a very fast tempo.
 * Dumka – Slavic musical form characterized by a melancholic character.
 * Écossaise – Dance in a Scottish style but actually French in origin.
 * Furiant – Fiery and fast Bohemian dance in a triple meter.
 * Galop – Fast, lively dance of French origin, with a simple duple meter.
 * Habanera – Dance of slow tempo of Cuban origin.
 * Humoresque – Composition that incorporates playful, humorous elements, typically without a strict formal structure.
 * Kolo – Traditional Balkan dance often with complex rhythms and varying tempos.
 * Krakowiak – Syncopated Polish dance.
 * Ländler – Austrian and Bavarian folk dance which was an influence to the waltz.
 * Mazurka – Polish folk dance in triple meter, often lively and with strong accents on the second or third beat.
 * Odzemek – Traditional Czech dance often in a fast duple meter.
 * Polka – Lively Bohemian dance.
 * Polonaise – Dance of Polish origin, in triple meter.
 * Saltarello – Lively, jumping Italian dance in a quick triple meter.
 * Seguidilla – Castilian folk dance in quick triple meter.
 * Skočná – Lively Czech dance form, often performed at a fast tempo.
 * Sousedská – Traditional Czech dance in a moderate triple meter.
 * Špacírka – Czech promenade or strolling dance, characterized by its leisurely pace.
 * Verbunkos – Hungarian folk dance characterized by distinctive, syncopated rhythms and the alternation of slow and fast tempos.
 * Waltz – Folk dance in triple meter characterized by a simple, flowing rhythm and distinctive 1-2-3 beat.
 * Zortziko – Folk Basque dance characterized by its distinctive 5/8 time signature.

20th and 21st century

 * Concerto – Musical work where one or more solo instruments are contrasted with an orchestra.
 * Concertino – Shorter form of a concerto.
 * Concerto for Orchestra – Composition highlighting individual instruments or sections with soloistic and virtuosic emphasis, dynamically shifting throughout the piece.
 * Experimental music theatre – Work that combines elements of music, theatre, and often other arts, emphasizing innovation, avant-garde techniques, and the exploration of new forms of expression.
 * Musical theatre – Theatrical performance combining music, songs, spoken dialogue, and dance.
 * Film score – Composition written specifically to accompany a film.
 * Moment form – Composition characterized by a series of loosely connected musical 'moments' without a traditional linear development.
 * Musique concrète – Composition that utilizes recorded sounds as raw material.
 * Opera – Dramatic work in one or more acts, set to music for singers and instrumentalists.
 * Chamber opera – Opera written to be performed with a chamber ensemble rather than a full orchestra.
 * Symphony – Large-scale composition, typically for an orchestra and often in four movements.
 * Sinfonietta – Symphony that is smaller in scale or lighter in approach.

title: List of classical music genres


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Talk:Short Music for Short People

Rat Music for Rat People
Surely, the name is a reference to the label's earlier Fat Music for Fat People, not Rat Music for Rat People. The first compilation might have been a reference to RMFRP, but more likely it's a reference to Bad Music for Bad People. Or perhaps it's just a common pattern for album names? Pburka (talk) 00:43, 9 August 2012 (UTC)

 * It's pretty obvious it's a play on Fat Music for Fat People, which itself is a play on the earlier Bad Music for Bad People and Rat Music for Rat People. The whole "___ music for ___ people" thing is a longstanding punk rock in-joke. --IllaZilla (talk) 01:28, 9 August 2012 (UTC)

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

title: Talk:Short Music for Short People


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User:Puskarm

Contributions

 * Feline Infectious Peritonitis Written for a family friend who died on July 12, 2005.
 * Offutt AFB Minor contribution of some recent history.

title: User:Puskarm


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Barron Collier

Barron Gift Collier (March 23, 1873 – March 13, 1939) was an American advertising entrepreneur who became the largest landowner and developer in the U.S. state of Florida, as well as the owner of a chain of hotels, bus lines, several banks, and newspapers, and of a telephone company and a steamship line.

Collier was born in Memphis, Tennessee. He quit school at age 16 to work for the Illinois Central Railroad. Within four years, he started his own business, the Consolidated Street Railway Advertising Company of New York City. At age 26, his assets were valued at a million dollars.

Background
In 1907, Barron Collier married Juliet Gordon Carnes, also a native of Memphis. In 1911, they visited Fort Myers, Florida on vacation and developed an enduring relationship with the area. They bought nearby Useppa Island for the sum of $100,000.

Barron Gift Collier was a highly successful and diversified entrepreneur with a portfolio that went far beyond his first business, the Consolidated Street Railway Advertising Company of New York City. His varied business interests included:

 * A chain of hotels, such as the Hotel Pennsylvania in New York City, the Hotel Lafayette in Buffalo, and the Hotel New Yorker in Miami Beach.
 * Bus transportation, through the Fifth Avenue Coach Company, operational in New York City and other locales
 * Banking institutions like the Bank of Everglades, Immokalee State Bank, and Collier County Bank
 * Media outlets, including Collier's Weekly, the New York American, and the Miami Daily News
 * The Collier County Telephone Company, offering telephone services to rural regions in Southwest Florida
 * Atlantic Coast Line Steamship Company, a steamship line connecting Florida and Cuba
 * Agriculture, through citrus groves, cattle ranches, sugar cane plantations, and vegetable farms.
 * Property development ventures, including the Tamiami Trail, Everglades City, and multiple master-planned communities
 * Energy sectors, through oil and mineral exploration via a subsidiary called Collier Resources Company.

Collier was an avid fisherman and established the Izaak Walton Club at their Useppa Island resort; it became one of the most exclusive sporting clubs in the world. Collier next developed golf courses and improved the Rod and Gun Club, a hunting club in Everglades City, Florida, that also attracted wealthy tourists. Over the next decade, the Colliers went on to acquire more than a million acres (4000 km2) of land in Southwest Florida, making them the largest private land owners in the state. He invested millions of dollars to transform and develop the wilderness, including drainage of the Everglades and construction of the Tamiami Trail. To recognize his influence on, and investment in, the state's future, the Florida legislature named the newly created Collier County for him on May 8, 1923.

He manifested tremendous energy in other pursuits. He was involved in the national Boy Scout movement. In New York, serving as special deputy commissioner for public safety, he introduced the use of white and yellow traffic divider lines on highways. Following the Lindbergh kidnapping in March 1932, he was influential in persuading the U.S. government to join, in 1938, INTERPOL, which had been formed in 1923. He was decorated by nine foreign governments.

His wife, Juliet Carnes Collier, appeared on the cover of the U.S. edition of the Tatler, the Tatler and American Sketch, in the early 1930s.

Collier died March 13, 1939, in Manhattan, survived by his wife and three sons, Barron Jr., Miles, and Samuel, and was interred at Woodlawn Cemetery in the Bronx, New York. Although the Great Depression had strained his finances and slowed development of their Florida lands, the next generations of his family would continue his development work in subsequent decades.

The family members participated in many sports, including motorsports, and especially road racing, which led to the sons Miles and Sam founding the Automobile Racing Club of America in 1933, renamed in 1944 as the Sports Car Club of America (SCCA). Miles, Cameron Argetsinger, and Briggs Cunningham were instrumental in founding the Watkins Glen racing facility, near one of their summer retreats. Juliet worried about the risks of racing and tried to influence her sons against it; Sam would indeed die in a racing accident at Watkins Glen in 1950. Briggs's renowned automobile collection was purchased by a member of the Collier family, and is now part of the Revs Institute for Automotive Research in Naples, Florida, which is open to the public.

The Collier County Public School System named Barron Collier High School in honor of Barron Gift Collier, Sr.

Personal relationships

 * His three sons, Barron Jr., Miles, and Samuel, carried on his legacy after inheriting his business. They served in World War II and afterward took charge of the family enterprise. They broadened the company's horizons into various sectors. All three sons had untimely deaths: Barron Jr. in 1976, Samuel in a 1950 car racing accident, and Miles from a viral infection in 1954. They were passionate about car racing and founded the Automobile Racing Club of America.
 * John H. Phipps, his friend and business collaborator, was a well-heeled industrialist and philanthropist. They teamed up on several projects, including the development of Useppa Island and the construction of the Hotel Pennsylvania. They were also avid fishers and hunters and were members of the Izaak Walton Club on Useppa Island.
 * His mentor and friend, Theodore Roosevelt, the 26th president of the United States, had a great influence on him. They met in 1905 and shared mutual admiration. Collier supported Roosevelt's conservation projects and progressive stances. He even visited Roosevelt at Sagamore Hill and went on a hunting expedition with him in Louisiana.
 * His business associate, Henry Flagler, was instrumental in Collier's vision for Florida. Both men aimed to turn Florida into a modern state and a travel hotspot. Collier gained insights from Flagler's past experiences in developing Florida's east coast. He even collaborated with Flagler's Atlantic Coast Line Railroad to bring rail service to Southwest Florida.

Political connections
Collier had relationships with several U.S. Presidents, including Theodore Roosevelt, Woodrow Wilson, Calvin Coolidge, and Herbert Hoover. He also maintained ties with influential senators, governors, and diplomats. His political involvements covered a range of causes such as:
 * The promotion of the Good Roads Movement
 * The establishment of the Everglades National Park
 * Support for the League of Nations

In addition, he was a generous donor to various political campaigns and charitable organizations.

Influence in Florida
In Florida, Collier was a significant player in both state government and local communities. He played a key role in:
 * The creation of two new Florida counties: Collier County and Hendry County
 * The funding and completion of the Tamiami Trail, a vital road linking Tampa and Miami through the Everglades
 * Serving as a special commissioner for public safety in Florida, particularly during the 1926 hurricane

title: Barron Collier


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Homopolar motor

A homopolar motor is a direct current electric motor with two magnetic poles, the conductors of which always cut unidirectional lines of magnetic flux by rotating a conductor around a fixed axis so that the conductor is at right angles to a static magnetic field. The resulting force being continuous in one direction, the homopolar motor needs no commutator but still requires slip rings. The name homopolar indicates that the electrical polarity of the conductor and the magnetic field poles do not change (i.e., that it does not require commutation).

History
The homopolar motor was the first electrical motor to be built. Its operation was demonstrated by Michael Faraday in 1821 at the Royal Institution in London.

In 1821, soon after the Danish physicist and chemist Hans Christian Ørsted discovered the phenomenon of electromagnetism, Humphry Davy and British scientist William Hyde Wollaston tried, but failed, to design an electric motor. Faraday, having been challenged by Davy as a joke, went on to build two devices to produce what he called "electromagnetic rotation". One of these, now known as the homopolar motor, caused a continuous circular motion that was engendered by the circular magnetic force around a wire that extended into a pool of mercury wherein was placed a magnet. The wire would then rotate around the magnet if supplied with current from a chemical battery. These experiments and inventions formed the foundation of modern electromagnetic technology. In his excitement, Faraday published results. This strained his mentor relationship with Davy, due to his mentor's jealousy of Faraday's achievement, and is the reason for Faraday’s assignment to other activities, which consequently prevented his involvement in electromagnetic research for several years.

B. G. Lamme described in 1913 a homopolar machine rated 2,000 kW, 260 V, 7,700 A and 1,200 rpm with 16 slip rings operating at a peripheral velocity of 67 m/s. A unipolar generator rated 1,125 kW, 7.5 V 150,000 A, 514 rpm built in 1934 was installed in a U.S. steel mill for pipe welding purposes.

Principle of operation
The homopolar motor is driven by the Lorentz force. A conductor with a current flowing through it when placed in a magnetic field which is perpendicular to the current feels a force in the direction perpendicular to both the magnetic field and the current. This force provides a torque around the axis of rotation. Because the axis of rotation is parallel to the magnetic field, and the opposing magnetic fields do not change polarity, no commutation is required for the conductor to keep turning. This simplicity is most readily achieved with single turn designs, which makes homopolar motors unsuitable for most practical applications.

Like most electro-mechanical machines, a homopolar motor is reversible: if the conductor is turned mechanically, then it will operate as a homopolar generator, producing a direct current voltage between the two terminals of the conductor. The direct current produced is an effect of the homopolar nature of the design. Homopolar generators (HPGs) were extensively researched in the late 20th century as low voltage but very high current DC power supplies and have achieved some success powering experimental railguns.

Building a simple homopolar motor
A homopolar motor is very easy to build. A permanent magnet is used to provide the external magnetic field in which the conductor will turn, and a battery causes a current to flow along a conducting wire. It is not necessary for the magnet to move, or even to be in contact with the rest of the motor; its sole purpose is to provide a magnetic field that will interact with the magnetic field induced by the current in the wire. One can attach the magnet to the battery and allow the conducting wire to rotate freely while closing the electric circuit by touching both the top of the battery and the magnet attached to the bottom of the battery. The wire and the battery may become hot if operated continuously.

Examples

 * Railgun
 * Ball bearing motor
 * Magnet

title: Homopolar motor


text:
Glasgow Fair

The Glasgow Fair is a holiday usually held during the second half of July in Glasgow, Scotland. 'The Fair' is the oldest of similar holidays and dates to the 12th century. The fair's earliest incarnation occurred in 1190, when Bishop Jocelin obtained permission from King William the Lion to hold the festivities.

Until the 1960s, most local businesses and factories closed on 'Fair Friday' to allow workers and their families to attend, typically spending their time in the Firth of Clyde or Ayrshire coast. This practice was known as going "doon the watter" (literally "down the water" in the Glasgow dialect).

The Fair
The Glasgow Fair was originally held within the boundaries of Glasgow Cathedral; from the 1800s onward, the fair has taken place on Bellahouston Park. In its earliest incarnations, the fair focused on economic practicalities such as the sale of horses and cattle. In the modern era, the fair has become known for its amusements, with circus and theatre shows as centrepieces.

The Glasgow Fair has been a nexus for travelling showmen, who congregate in order to take advantage of the large audiences. This provided the fair with a diverse roster of entertainers and performances. The 1912 fair, for example, featured a traditional penny gaff as well as short melodramas. The Glasgow Fair also served to introduce attendees to changes in industry and commerce. The 1912 fair also presented a scenic railway that took visitors on a simulated ride through Japan and back to Scotland.

Starting in the 1900s, the Glasgow Fair focused on introducing attendees to global events. In 1917, the following advertisement was printed in a local publication on:

The fair continues to be held annually, though attendance gradually decreased and a large portion of the fair was relocated to Vinegarhill.

In literature and popular culture
Neil Munro satirised the various ways in which Glaswegians enjoyed the Fair in the early Twentieth Century in his Erchie MacPherson story, "The Fair", first published in the Glasgow Evening News on 11th July 1904.

The activities of Glaswegians on the Ayrshire coast during the Glasgow Fair are celebrated by Billy Connolly in his song Saltcoats at the Fair, first released on The Humblebums' First Collection of Merry Melodies album (Transatlantic TRA186, February 1969).

title: Glasgow Fair


text:
Charles Louis Huguet, 1st Marquis of Sémonville

Charles Louis Huguet, 1st Marquis of Sémonville (9 March 1759 – 11 August 1839) was a French diplomat and politician. He was made a count of the First French Empire in 1808, and marquis in 1819.

Biography
Born in Paris on as the son of one of the royal secretaries, he became Minister and Envoy Extraordinary of France to the Republic of Genoa in 1790–1791. He was instructed by Charles François Dumouriez to go to Turin and attempt to break off the alliance between Victor Amadeus III of Sardinia and the Habsburg monarchy, but was not permitted to cross the Sardinian frontier. Between 1792 and 1796, he was nominal ambassador to the Ottoman Empire, but he never occupied the post.

In 1793 he had started with Hugues-Bernard Maret for Italy where they had missions to the Grand Duchy of Tuscany and the Kingdom of Naples respectively, when the two envoys were kidnapped by Austrian orders in the Valtellina. They remained in the hotel Goldener Adler in Tyrol until December 1795, after that they were brought to Basel when there was an exchange of prisoners on the release of Madame Royale, daughter of the executed King Louis XVI, from the Temple prison.

In 1799 Napoleon Bonaparte, through whose influence his release had been obtained, sent him to as an envoy of the French Consulate to the Hague, in order to consolidate the alliance between France and the Batavian Republic. He was entirely successful, and he is credited with another diplomatic success in the negotiations leading to the "Austrian marriage" between Napoleon and Marie Louise of Habsburg.

Semonville accepted the Bourbon Restoration, and sat on the commission which drew up the Constitutional Charter. Treasured by Louis XVIII, he took no part in the Hundred Days; later on, he became on overt opponent of the Ultra-royalist policy of Charles X, but tried to save his throne during the July Revolution—with Antoine Maurice Apollinaire d'Argout, he visited the Tuileries Palace and persuaded the king to withdraw his ordinances and to summon the council. He died in Paris 9 years later.


text:
Horror (2002 film)

Horror is a 2002 American horror film written and directed by Dante Tomaselli. The movie stars Danny Lopes as the leader of a gang of drug addicts that have made a bloody escape from a drug rehabilitation hospital, only to encounter demonic entities.

Plot
A gang of teens escape a drug rehabilitation hospital after committing murder and grand theft auto, led by a man named Luck (Danny Lopes). They drive to a rendezvous point with the demented Reverend Salo (Kreskin) and his depraved wife (Christie Sanford) and their daughter Grace (Lizzy Mahon), who is a GUNWO-addicted slave. When the teens show up, they encounter demonic entities.

Cast

 * Kreskin as Reverend Salo
 * Lizzy Mahon as Grace Salo
 * Danny Lopes as Luck
 * Vincent Lamberti as Reverend Salo Jr.
 * Christie Sanford as Mrs. Salo
 * Jessica Pagan as Marisa
 * Raine Brown as Amanda
 * Kevin Kenny as Kevin
 * Chris Farabaugh as Fred
 * Felissa Rose as Art Therapist

Reception
DVD Verdict called it "a distinctive, compelling and occasionally brilliant work". Scott Weinberg commented that the movie would not likely appeal to people who predominantly viewed mainstream horror films but that "those with some patience and a taste for something small and different will certainly earn some solid creeps from this one." Film Threat also gave Horror a positive review and praised the film's pacing, as they felt that this enabled Tomaselli to build up the movie's "creepy suspense". In contrast, AMC'S FilmCritic panned the movie, commenting that "Horror has plenty of scary moments, but it’s so confusing it’s hard to be genuinely frightened."

Awards

 * Best Cinematography at the New York City Horror Film Festival (2002, won)

title: Horror (2002 film)


text:
Talk:Nipple piercing

Picture of Home with chain connecting the two
This image is a good Photoshop job. However, the two pictures chosen to combine sex bing bijeaux homosexuality seine dommage aro milk absorbat male for American or thea noor, porno bague bijeaux transexuality poitrine dammage ard milk transpirator female for Germany or coffe dynamique the rail thin woman where her ribs are seen, and the large breasts of a healthy woman, were poorly chosen. One can tell it is image-editing by the angle of the chest above the breasts. Also suspicious is the lightness of the arms by the edge of the breasts where there should be shadow. I'm going to find a better photo that is not edited. • Joanna 13:47 EST 2 January 2021  —Preceding comment was added at 18:49, 2 January 2008 (UTC)

Joana - You are incorrect in several of your assumptions. First, it is not two photographs of two women, but the same woman. Second, she is not "rail thin", and you implication that she is not "healthy" is also incorrect. She is tremendously healthy, and is in fact a "health nut", in both diet and exercise. I have several other pictures of her that i would be glad to post in this discussion. As she is a great example of this subject, I think it would be somewhat "personal bias" to remove the photo. —Preceding unsigned comment added by Beachnut4 (talk • contribs) 02:10, 8 January 2008 (UTC)

The Gay Angle?
This work doesn't suggest that some gay men pierced their nipples before straight celebrities embraced it. On a documentary about piercing on MTV, a man said many people assume he's gay because his nipples are pierced. Paul Rutherford, an openly gay singer of Frankie Goes to Hollywood posed with his pierce nipple in the early 1980s years before it became trendy in straight circles. Is there a non-homophobic way to bring this up in this Wikipedia entry? Maybe it's different in other countries, but I'd say gay men were doing it before others in the USA. —Preceding unsigned comment added by Chumley41 (talk • contribs) 22:56, 7 December 2007 (UTC)

Major Changes
I've already removed the aftercare and how-to information from this page, unless someone has a major objection, I'm going to re-format it to be in line with the layout of the majority of other body piercing related pages. Glowimperial 21:06, 20 January 2006 (UTC)

Future generations
Isn't it funny to look at the picture of a hairy (male, I suppose) nipple right besides the heading about breastfeeding? This is only noticeable on big screens with small characters but what will the future generations will think of us as screen size will surely increase and human hair will maybe decrease, even disappear? In a few years or centuries, wouldn't it be a little misleading? Josie dethiers 09:42, 23 September 2006 (UTC)

But why?
I came to this page wondering why anyone would want to get a nipple piecing. I can understand motives for almost all the others, but nipple piercings just seem pointless. --24.239.174.223 23:24, 21 November 2006 (UTC)

 * For the same reason people get any other piercing; some do it for the thrill, some do it because they think it looks good, and others do it because it's kinky. To find out more, please go to the body piercing page because I think they've got a nice section about the culture of piercings. --pIrish 02:14, 7 December 2006 (UTC)

History of nipple piercings?
I came here looking for some history on nipple piercings such as Roman gaurds or... Victorian women... rumors? I don't know, perhaps a nipple piercing historian could stop by here and spruce it up.

143.229.182.13 02:44, 24 April 2007 (UTC) AlRod

ha tildes.

Hormonal stimulation by nipple piercings
I have added 2 sections about that because it seems to be very special for this kind of piercing and often overlooked. Women not taking hormonal contraception have it relatively easy to recognise the effect - prolonged periods, irregular cycles or galactorhea can be signs of light/beginning hyperprolactinemia. Men (and women taking hormonal contraception) will typically not see any early warning signs. Seems to be highly individual, YMMV. Some precautionary prolactin tests will not hurt. Richiez 09:23, 17 May 2007 (UTC)

 * This all seems rather alarmist for a wikipedia entry on nipple piercings. Every piercing has its dangers but this entry is probably 50% warning about the possible medical problems that could arise. What are the percentages of people who end up with these symptoms, it almost feels like all people with this piercing are affected. Which can't be right. 65.14.229.26 11:26, 17 May 2007 (UTC)AlRod

Should not sound alarmist. Little is known about percentages of people who get it but I believe that a light hyperprolactinemia following nipple piercings is very common - definitely more than 10%. How much of that develop into serious problems has never been studied. The reason I wanted to have it here is because awareness is very low.. show me the studio that tells you that nipple piercing will stimulate prolactin. It may be possible to prevent this kind of problems by using Vitex Agnus Castus extract or testing prolactin levels.Richiez 19:47, 17 May 2007 (UTC)

Removed section
I've removed a section regarding health concerns. While the information may be correct, the citations are not. Please see WP:CITE to see how to correctly cite references. If they are cited correctly, it can be put back in.

This is the section I removed:

 * Long term stimulation of prolactin that is caused by nipple piercings may result in overt hyperprolactinemia (Modest & Fangman 2002, Demirtas et al 2003). This problem may develop decades after the piercing so the association is easily missed.

 * Infection or hormonal stimulation caused by nipple piercings can cause particularly nasty mastitis (Jacobs et al 2003).

Feel free to clean it up and put it back. --pIrish Arr! 20:53, 24 May 2007 (UTC)

 * I'm adding the citations in case they are needed:

 * Modest GA, Fangman JJ; N Engl J Med. 2002 Nov; Nipple piercing and hyperprolactinemia.
 * Demirtas Y, Sariguney Y, Cukurluoglu O, Ayhan S, Celebi C; Dermatol Surg. 2004 Aug; Nipple piercing: it is wiser to avoid in patients with hyperprolactinemia.;
 * Jacobs VR, Golombeck K, Jonat W, Kiechle M.; Int J Fertil Women's Med. 2003; Mastitis nonpuerperalis after nipple piercing: time to act.;

 * Hopefully this can all be worked out and fixed. --pIrish Arr! 20:55, 24 May 2007 (UTC)

It would really help if you could give a hint why you consider the citations incorrect. I could guess but I am not into mind reading. I did read the citation guide Richiez 19:27, 26 May 2007 (UTC)

 * I'm not trying to get you to mind read anything. Wikipedia isn't an MLA/APA/whatever-formatted research paper. It follows it's own citation rules to make everything look more formal and run easier. If you follow the instructions on WP:CITE, it will tell you how to do it and, if you've done it correctly, the references will have a link following the statement and will automatically show up in in the references section by itself (you don't have to manually put it there). --pIrish Arr! 20:08, 26 May 2007 (UTC)

Harvard style citations are allowed and use of citations templates is neither required nor useful for this citation style. So I am guessing you object that there were 2 different citation styles mixed on the page? Or something else? Richiez 08:00, 28 May 2007 (UTC)

 * They may not be required, but they are strongly encouraged. It just looks nicer, more uniform, and formal. Many people will automatically just delete citations that weren't generated with a template because, in almost all cases, it just looks sloppy and not befitting of an encyclopedia. Here's a whole page of templates you can use, including templates for books, magazines, and journals. All you have to do is put in the information that you know (you don't have to fill every blank) and it will only show up with what you put there. Contrary to what a lot of people think, you don't need a URL to use these. Simply using the template causes it to show up correctly and just looks better overall. --pIrish Arr! 14:49, 28 May 2007 (UTC)

This is getting lengthier than I expected and maybe we should continue the discussion in another place as it is getting slightly unrelated to this article?

The templates don't look bad. Otoh if you consider use of templates mandatory then think about fixing Harvard_referencing which says "There is no requirement or recommendation to use citation or footnote templates in Wikipedia, and many editors find them unhelpful and distracting.". Automatically deleting citations which are compliant to official policy would be a very bad idea.

Regarding this case, is it acceptable to use Harvard referencing? What else is the problem? Richiez 18:22, 29 May 2007 (UTC)

 * Since this conversation began, I've forced myself to increase my understanding of the citations policy so I know what I'm talking about and don't dig myself into a deeper hole. Clearly the most recent message to you indicates that I do not think templates are mandatory. Don't make assumptions that I still do, especially when I said, and I quote, "They may not be required, but they are strongly encouraged."

 * I still maintain that templates (which do accomodate for Harvard referencing) are the most preferred route and what looks best on a page that is already using a template-based structure, like this one is. At the very least, it should be made perfectly clear that there are two styles being used by having two seperate references sections (I recently saw this on Humpback Whale and it was ok, but, even though they've got a handful of non-template style referencing, more than 85% of their references are still template-based).

 * Why are you so against using templates? I'd really be curious to know why you seem to think not using templates for these few statements is better. Preferably on some grounds other than just because it's allowed because, so far, that's the only reason you've really given me thus far. You've not shown me one reason why templates are worse in this instance. If there's some specific reason why, I'd really be happy to know about it, otherwise, it just looks like you're fighting it based on what's allowed, rather than what looks or works best. --pIrish Arr! 19:57, 29 May 2007 (UTC)

Regarding "stronly encouraged": that does still considerably contradict the text which I quoted earlier.

I am not (and never was) strongly against templates but was trying to figure out why you deleted my text in the first place given that I considered my citation style perfectly appropriate fo WP.

After looking at the harvard citation templates I think they are quite sane but don't help me very much compared to plain text.

What I consider extremely messy is the footnote style referencing where reference entries are scattered throughout the whole article. You need to search all sections to figure out where a particular reference is defined and references get accidentally removed very easilly. Furthermore even someone frequently proofreading an article is easilly confused if the footnote references are renumbered which happens fairly often in the WP.

For me the ideal citation system has this:
 * reference definitions not inline in text - and this is pretty imperative
 * citations in text with recognisable text (not just confusing footnote numbers). For example in some publications the citations use footnotes like "Demirtas04" or "Demir04" - very conscise and still 1000% better than plain numbers. This would be my personal favorite - does anything like that exist on WP?
 * special PMID template - just type into citation template and have everything filled out magically. If WP can build the stable link automatically, why not the rest?

- Richiez 17:43, 30 May 2007 (UTC)

 * Thank you. This is the kind of response I've been looking for. One where you're giving me more insight into what you're thinking because, up until now, it's been extremely hard to tell.

 * I'm not too sure what you mean about having difficulty searching for footnotes. The templates don't require you to find numbers within the article; they've got links that connect the statement and its reference at both the statement (the number at the end) and in the reference sections (the "^" at the beginning of the reference). There shouldn't be any searching to begin with unless the template was done incorrectly. If a reference template gets removed, it should automatically take it out of the references section and renumber the others. I guess I just need you to explain that problem a bit more because I don't think I'm really grasping what you're saying.

 * I took the section out because, at that time, I really didn't think anything other than templates were acceptable. That's why I read up on it as soon as it was questioned. I just haven't put it back in because...well...I just haven't. Even if it does go back in just like it is, I do think we really need a "footnotes" section and a "bibliography" section to seperate the two styles. --pIrish Arr! 19:40, 30 May 2007 (UTC)

Regarding the footnote issues: Richiez 13:02, 31 May 2007 (UTC)
 * when reading the article I find them harder to keep track off than Harvard style referencing. Few people will remember footnote numbers very well and they get renumbered very easy. So essentially when I try to verify a text I need to jump back and forth for nearly every footnote whereas Harv or similar would make it much easier for me to remember whether I have already seen that reference.
 * when editing it is messy that references are not defined in a central section but scattered inline of the text throughout all sections.

'Trivia'
The 'trivia' section mentions a small group of popular, mainstream artists, and their 'association' with nipple piercing. It is loosely accurate at best, and frankly seems to seek to validate said piercing by association. Surely there is more interesting trivia about nipple piercing, otherwise this section must be removed in its entirety. —Preceding unsigned comment added by 58.104.160.62 (talk) 10:06, 16 October 2007 (UTC)

I Agree. My girlfriend sports 4 piercings (nipple, tongue, navel and labret) and has never set any alarm off at any airport. All that thing about Nicole Ritchie sounds like a concoction or, at best, urban legend. John —Preceding unsigned comment added by 83.46.44.3 (talk) 10:02, 26 June 2008 (UTC)

 * It's possible for piercings to be set off at alarms, but it's not probable. You can read stories on the internet in forums and such where people have set off the alarms. While it's not likely, if the alarm's sensitivity is set too high, it could very well go off. I actually read a news article somewhat recently (within the last six months or so) where the alarms went off and a girl was asked to remove her piercings (a painful embarrassment as they had to use pliers and those forcing her to remove them snickered while she did it). She ended up suing the airline over it. So, no, definitely not an urban legend. --132 17:13, 26 June 2008 (UTC)

Fair use rationale for Image:Nipple Shield.jpg
Image:Nipple Shield.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Fair use rationale guideline is an easy way to ensure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If there is other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images lacking such an explanation can be deleted one week after being tagged, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.

BetacommandBot (talk) 15:17, 8 March 2008 (UTC)

Citation Tags
What exactly would you like to see verified? What's in doubt?--Lamilli (talk) 19:00, 7 January 2009 (UTC)
 * Pretty much everything, especially the history section.--Flash176 (talk) 20:19, 7 January 2009 (UTC)

Christina
"Christina Aguilera had all her piercings removed, including her left nipple, keeping only her right nipple piercing." She's had them all removed? Or she's had all but one removed? This sentence actually made my head hurt.--Jclaggett (talk) 09:26, 25 February 2009 (UTC)
 * I fixed the wording. I hope that it makes more sense now. Next time, feel free to be bold & fix it!  hmwith  τ   21:03, 25 February 2009 (UTC)

Removal of BMEZine link
Hey, this is a paysite. Do we really need to promote these people?

 * They're also a vast database. The only pictures you have to pay to see are genital and older nipple ones.--Flash176 (talk) 01:55, 25 June 2009 (UTC)

 * I agree. It's the largest database for photos of this piercing. If you can find another, that is more free, then add it. Until then, the BMEZine link should remain. --132 04:43, 26 June 2009 (UTC)

breastfeeding and nipple piercing
i work in a research unit at the University of Western Australia and we have recently published an article in which we detail 3 women that we have seen that have had problems breastfeeding after a nipple piercing. Many websites state that there is no problems, but we have evidence that strongly suggests that there may be problems. Women need to be aware of this potiential problem if they are considering nipple piercing.Jane66 (talk) 11:20, 13 July 2009 (UTC)

 * This would normally be considered original research, but since there's a citation to a published article it can stand. That said, where you were placing it was completely inappropriate, especially since you were removing an extremely reliable source that said correctly done nipple piercings won't cause any problems and made it sound like every nipple piercing will be an issue with breastfeeding, which isn't true. However, another user resolved this issue so the information can stay. --132 12:43, 13 July 2009 (UTC)
 * A preview of the JAMA letter is here. Hairhorn (talk) 13:19, 13 July 2009 (UTC)
 * Unfortunately, you can't read the source without paying to subscribe to the website. Also, I take issue with only having 3 examples. That hardly sounds scientific without being able to read the letter.--Flash176 (talk) 15:04, 13 July 2009 (UTC)
 * I agree and I'm more inclined to remove the statement until I can actually read the full source. I fear they made a lot of hasty conclusions, generalizations, and assumptions, especially considering all the research out there that says quite the opposite. I'm ok with leaving it in as a very vague, very neutral notation, but not anything that could be considered concrete (though I'd prefer to remove it entirely). --132 15:39, 13 July 2009 (UTC)

The document in question is a research letter reviewing 3 cases, not a research article. (And having to pay isn't a verifiability issue, take a walk to your local university medical library instead. Even my local city library has JAMA.) The letter clearly doesn't make hasty conclusions, with language like this: "We present 3 patients with lactation difficulties suggesting that nipple piercings can lead to complications". There are no claims to have made a full research study, nor do they claim any absoute link. They can be accused of being vague, but hardly of jumping the gun. Hairhorn (talk) 17:48, 13 July 2009 (UTC)
 * All right, maybe that was a bit of a hasty generalization on my side ;) and, so long as you've read it and can attest to its merit, I'll leave it in. I'm still a bit uncomfortable about it though since they only had three patients, but so long as the statement remains very vague, then I'll leave it be. --132 17:55, 13 July 2009 (UTC)
 * i never said that every woman who has their nipple pierced would have a problem. It only takes a few people to have a problem, to suggest that it is a problem sometimes. We make no claims as to the incidence of subsequent difficulties. However, the 3 women that we saw all presented within a month to our research unit which suggests that it is not a RARE problem. We have also seen women who have had a piercing and who did not have that problem.For people not familiar with JAMA, it is an extrememly reputable journal, and even letters are sent to independent reviewers for critical comments and many letters are not accepted. They do not publish any letter that they recieve. Also, there was nothing to suggest that the women who had had their nipples pierced had had it done in an ímproper manner', what ever you mean by that.Jane66 (talk) 04:51, 14 July 2009 (UTC)
 * Hairhorn, I never said having to pay was a verifiability issue. A source doesn't have to have ready access to be considered a source.
 * Jane66, let me make this clear up front: I can't read your letter, so I can't know your methods and am not saying you're wrong. It's just that your 3 examples don't sound very scientific, not to mention if it's a problem, somebody should have heard about it by now on all of the forums. I really would like to check your letter out, though, as it sounds interesting.--Flash176 (talk) 15:41, 14 July 2009 (UTC)

 * Jane66, you are currently in violation of WP:COI as you are trying to promote your own work and research here and are arguing against those who may not completely agree with it. Please discuss this issue in a more neutral fashion. Thank you. --132 17:05, 14 July 2009 (UTC)

Wikiproject Body Modification
I'm trying to start a Wikiproject on Body Modification, if anyone wants to join go here http://en.wikipedia.org/wiki/Wikipedia:WikiProject_Council/Proposals/Body_Modification ScarTissueBloodBlister (talk) 02:33, 16 July 2009 (UTC)

14th Century Cleavage
I've been looking, and I can't find any credible sources for the assertions that women wore necklines that reveled their nipples, or that Queen Isabeau wore a nipple ring. Its seems highly unlikely to me.

http://en.wikipedia.org/wiki/Body_piercing#Body_piercing_folklore gives an uncited mention to the Book "Dreamtime" by Hans Peter Duerr which appears to be a history of witchcraft. That article seems to take a much more secptical view of the idea than this one. Should the two be reconciled? 69.115.19.58 (talk) 06:47, 3 September 2009 (UTC)
 * I have to agree. I saw the highly dubious "history" section and jumped straight here to see if anyone is already investigating it. Much of the history section sounds like someone's fantasy (a high risk for an article like this) and should be either cited or deleted.

 * In particular, in the 14th century, the "fashion" was not only no displayed cleavage, in fact women's garments went at least up to the chin, so you didn't even see a seductive throat, and until quite late in that century it was still common to cover the whole body except the face and hands, in much the same manner as hijab; see wimple. The idea that bared nipples were shown in public is utterly preposterous. This is a particular concern because the Marquis de Sade wrote a "history" of Isabeau of Bavaria, much of which is completely fictitious, probably designed to simultaneously satisfy his own peculiar desires and get back in the good books with the Revolutionaries; if that is the source, then the claim is certainly bunk. In fact even if de Sade isn't the source, it is bunk.

 * The Anneaux De Sein is slightly more plausible, but still rather dubious. For one minor thing, the French is wrong; it should be "anneaux des seins" (which, of course, is simply the ordinary modern French word for "nipple rings," but literally translates as "breast rings.") More significantly, when I Google it, every page seems to be quoting the same, sole source: a particular paragraph from Professor Kern is a presumably reliable source; he is a professor of history whose studies specifically include the history of sexuality (see his academic bio page). However it appears in some of the quotes that his source for this claim is  This is a significant problem because Eduard Fuchs was not an historian, he was a radical activist who was writing propaganda to attack the upper classes. -- 202.63.39.58 (talk) 06:10, 25 October 2009 (UTC)
 * OK, searching through the history logs I find that the disputed text has had a tag since December, 2007. (It has occasionally been temporarily removed without justification or discussion, which is generally considered vandalism.) The original author of the claims, User:Lamilli, has an edit history that shows great interest in sexually oriented body modification but no particular interest in historical research. In view of the lack of any shred of support for this improbable claim, the long period it was marked dubious without any evidence at all being offered, and the arguments indicating it is very probably false, I am going to remove the highly improbable 14th century claim. I will not touch the 1890s claim until I can confirm that the quotes of Prof. Kern that I have read are accurate. If that proves to the case, I will pre-pend the claim it with "It has been claimed by one author [insert Prof. Kern ref], based on a claim by radical activist Eduard Fuchs, that during the Victorian period around 1890 ..." -- 202.63.39.58 (talk) 06:28, 31 October 2009 (UTC)

Healing time
I reverted the recent change to the healing time for these piercings, as they went against the published paper from a reputable source. My edit summary was a little harsh, but it's still mostly true. Anything less than a medically published paper (or better) is going to be less reliable than what's already there. I will assume it was changed because you have to log in to the site to see the paper. Keep in mind though, that sources don't have to be readily accessible pages on internet. If it's in a book, peer-reviewed journal, or printed paper, it is still considered reliable, and often more reliable than the vast majority of online material. ICY TIGER'S BLOOD 13:00, 21 July 2011 (UTC)

Vogue Quote
It seems that the source for the "Vogue" quote is unreliable: Vogue's first issue was 1892.

98.249.9.192 (talk) 18:51, 31 January 2012 (UTC)

Axl Rose
I just wanted to add that Axl Rose also has or used to have a nipple piercing. I feel like he should not be left out of the "Popular Wearers" section. I am pretty sure a lot of others are forgotten to, but I thought at least Axl Rose should be in there. — Preceding unsigned comment added by 86.86.43.180 (talk) 21:46, 22 July 2012 (UTC)

Picture
You claim that the new picture would be "much better" - I don't see in which way. Such huge rings are just not a typical exemplar.--Lamilli (talk) 08:50, 11 October 2015 (UTC)
 * Images must be functional at the size presented. In the case of the image you prefer, the piercings cannot be easily seen, which is why the previous image is preferable. Please do not edit war. BMK (talk) 18:50, 11 October 2015 (UTC)
 * I don't want to insist on the previous image. I can see your point that the piercing is hardly noticable in thumbnail view. Still, the image that was introduced by IP without explanatory statement features an atypical size of jewelry. I hope to find a compromise with you and propose that image with a clearly visible piercing of typical form and size. Other than that, I don't really see why you reverted the other changes.--Lamilli (talk) 11:02, 12 October 2015 (UTC)

External links modified
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Lists of examples
I have again removed the long lists of examples of people with these piercings. I have done this on two grounds: first, the sourcing was generally poor, with a mix of self-published, deprecated, and primary sources; second, there is no indication that the extensive list warrants inclusion. Please don't restore it without addressing these issues. Nikkimaria (talk) 20:22, 17 April 2020 (UTC)

title: Talk:Nipple piercing


text: Talk:Physical Fatness

title: Talk:Physical Fatness


text:
Holeshot

The holeshot is a term used in motocross to describe or reference the first racer to get through the apex of the first turn. Getting the holeshot gives the rider a huge competitive advantage and some level of control in the race. In most cases, the rider who gets the holeshot also wins the race.

Motorcycle, off-road, bicycle, powerboat racing
The term is used in motorcycle racing, off-road racing (but also motorsport racing in general) for the rider who is the first one through the first turn. In some cases a holeshot award is given, which is a prize separate from winning the race.

Many motorcycle racers consider the start to be the most important part of a race, and it is particularly important in those forms of the sport where the tracks are very small, tight and difficult to pass on. This is particularly relevant in motocross where racers line up alongside each other rather than behind each other in tarmac-based sports. The term had also found its way into bicycle motocross racing (BMX) by the early 1970s because BMX is a bicycle derivative of motorcycle motocross and has inherited many terms from that sport. In BMX the holeshot is even more important since BMX races are single lap 25 to 45 second races with only a few opportunities to pass in that time period. Achieving the holeshot in BMX will earn the rider a victory the majority of the time. This term can also be used to describe the starting performance of a vehicle. A vehicle that is fast off the line (though not necessarily fast overall) is said to have a good "holeshot".

A holeshot maneuver in off-road bicycle racing (mountain biking or cyclocross) is when a racer moves from the relatively flat, open area of the start to the narrower confines of the single track ahead of the other racers. A successful holeshot affords the first racer some control over the tempo of the race, as passing on the narrow single track can break the passing racer's rhythm.

Holeshot win
In drag racing, a "holeshot win" refers to a victory in which a driver runs a slower elapsed time (E.T.), but wins the race due to a faster reaction time at the start.

title: Holeshot


text: Talk:Survival of the Fattest

title: Talk:Survival of the Fattest


text: Talk:Life in the Fat Lane

title: Talk:Life in the Fat Lane


text:
Djebel Chélia

Djebel Chélia (جبل شيليا) is a mountain in Algeria. It is the highest point in the Aurès Mountains and the second highest peak in Algeria after Mount Tahat. Djebel Chélia is situated in the west of Khenchela, in Bouhmama county. Abiod Valley begins at the foot of Djebel Chélia.

title: Djebel Chélia


text: Talk:Live Fat, Die Young

title: Talk:Live Fat, Die Young


text:
Brygada Kryzys

Brygada Kryzys was one of the most important and influential Polish post-punk bands. The band was founded in 1981 by two well-known guitarist/vocalists from Warsaw, Robert Brylewski (formerly of the band Kryzys) and Tomasz Lipiński (from Tilt).

1981

 * July - Robert Brylewski asks Tomasz Lipiński if he would be willing to start a new band. Lipiński agrees.
 * August - Brygada Kryzys is formed. After few rehearsals the lineup consists of: Brylewski, Lipiński, Jarek "Gruszka" Ptasiński (drums), Tomek "Men" Świtalski (sax), Ireneusz "Jeżyk" Wereński (bass), and Sławek Słocinski (drums). The musicians describe their music as "punkadelic", claiming they have two sources of inspiration: early punk and the psychedelic 1960s. The first planned gig in Gdansk is canceled because its organizers regard BK's message as too political.
 * September - First concert in Warsaw's Riviera. This gig is recorded and later issued in London as a bootleg.
 * November - A two-week tour around Poland with British band TV 21. At the Monopol Hotel in Gdańsk, Brylewski is severely beaten by a group of hooligans and the milicja (communist police) refuse to help. A general strike in Poland begins around the same time.
 * December - The band goes to Belgrade to participate in a festival titled "Days of Young Polish Subculture." The bus, however, is stopped at Polish-Czechoslovak border and the band's equipment is confiscated. BK eventually reaches Belgrade by plane and plays two shows. One is recorded. After its return to Poland the group plans a tour of the Netherlands for February 1982, as well as another trip to Jugoslavia. On December 13 the communist authorities declare martial law, instituting both a curfew and severe travel restrictions.

1982

 * February - Posters in Warsaw for a new band, “Brygada K.” start to appear. The government wants the band to shorten its provocative name ("Crisis Brigade" in English), but the musicians refuse. As a result, BK is banned from playing any public concerts, and is not allowed to leave the country for its planned Netherlands tour.
 * March - The recording company “Tonpress” opens a new studio in Warsaw's Wawrzyszew district and begins looking for a band to test it. BK manager, Jacek Olechowski, suggests the group. Over a few days and several songs are recorded. “Tonpress”, with hesitation, agrees to publish the record. Also, Janek Rołt becomes BK's new drummer.
 * Summer - The band spends the whole of the summer in a village near Lublin. Several scenes are recorded and later appear in the movie “Koncert”.
 * August 31 - Demonstrations and street fights in Warsaw. Tomek is severely beaten and arrested by the milicja, but is released shortly afterwards as there is no space in the overcrowded jails.
 * September 1–4 - Concerts at Warsaw's club Remont, the first since December 1981. BK members decide to dissolve the band due to the numerous political obstacles which make it impossible to carry on. Robert starts a reggae band, Izrael, while Tomek returns to Tilt.

1989
A week before the Berlin Wall's collapse, on the way to a Berlin concert, Tomek and Robert talk about reforming BK.

1991

 * August - The band plays its first concert in nine years at the legendary Jarocin Festival, to a great reception.
 * October 1991-August 1992 - At the Izabelin studio the band records the new album “Cosmopolis”. The LP features both old and new songs. BK now consists of: Robert Brylewski, Tomek Lipiński, Irek Jeżyk Wereński and new musicians Piotr "Stopa" Żyżelewicz (drums), Brylewski's wife Vivian Quarcoo (vocals), and both Włodek Kiniorski and Aleksander Korecki on saxophone.
 * December 13, 1992,1993,1994 - The band organizes a series of concerts commemorating the declaration of martial law in Poland. One of them is later released. In 1994 the band again disbands.

2003
In the spring BK returns again, after 10 years, with: Robert Brylewski and Tomek Lipiński, plus Filip Gałązka on drums, Tomek Szymborski on bass and Sergiusz Lisecki on sax. The band plays several concerts, including a tour titled "PRL czyli Punk Rock Later". In December BK plays at the Garage Club in London.

2005
With Aleksander Korecki back replacing Lisecki on saxophone, BK begin work on the "Black Album" project, featuring remixes of the self-titled first album, songs by Jozef B. Nowakowski and some early unreleased recordings. They participate in TVP3's program Muzyka łączy pokolenia ("Music Connects Generations") with the rap duo "Vienio i Pele". Another tour commences in November through clubs in Poland and on (December 4) the band again plays at the Garage in London. A new recording session is scheduled for winter 2005/2006.

Discography

 * 1982 Brygada Kryzys / LP Tonpress
 * 1982 Live / LP Fresh Records UK
 * 1992 Cosmopolis / Izabelin Studio
 * 1996 Live in Remont '93 / MC Gold Rock Studio

title: Brygada Kryzys


text: Talk:Uncontrollable Fatulence

title: Talk:Uncontrollable Fatulence


text:
The Magic Numbers (album)

The Magic Numbers is the debut album from English pop rock band the Magic Numbers. It was nominated for a Mercury Music Prize in 2005. Songwriting duties were taken by Romeo Stodart as was much of the musical composition and arrangement. It incorporated the earlier single release of "Hymn for Her" as a hidden track. The album incorporates many folk elements within the main indie sound which resounds throughout. The album also reflects many elements of the writers' early childhood dreams, tales of their love life and desperation of youth. For example, "Love Me Like You", the best known single of the album, illustrates the difference of feeling in their love for each other.

Production
The Magic Numbers began recording the album in late 2004 at the Metropolis Studios in Chiswick. The album was co-produced by Romeo Stodart and American producer Craig Silvey.

Reception
The album was nominated for the Mercury Prize in 2005, but lost to Antony and the Johnsons' I Am a Bird Now. The Magic Numbers came 43rd on PopMatters' 50 Best Albums of 2005 list.

Personnel
The Magic Numbers
 * Angela Gannon – melodica, percussion, vocals, design
 * Sean Gannon – drums, design
 * Michele Stodart – bass guitar, keyboards, percussion, vocals, design
 * Romeo Stodart – guitar, piano, vocals, production, banjo on "Mornings Eleven", design

Other personnel
 * CC-Lab – design
 * Angharad Davies – violin on "This Love"
 * Pete Fowler – band illustration on British release
 * Steve Gullick – photography
 * Serge Krebs – engineering on "Which Way to Happy" and "I See You, You See Me"
 * Dom Morley – assistant engineering on "Don't Give Up the Fight"
 * Rich Robson – editing
 * Craig Silvey – recording and production on all except "Idea of a Feeling"
 * Bunt Stafford-Clark – mastering
 * Richard Wilkinson – mixing on "Don't Give Up the Fight" and "This Love", additional engineering on "Mornings Eleven", "Forever Lost", "The Mule", "Long Legs", "Love Me Like You", "This Love", "Try", and "Hymn to Her"

title: The Magic Numbers (album)


text:
Earl of Castlemaine

The Earldom of Castlemaine was a title created in the Peerage of Ireland. It was created for Roger Palmer, the son of Sir James Palmer, a Gentleman of the Bedchamber under King Charles I, and Catherine Herbert, daughter of William Herbert, 1st Baron Powis. Roger Palmer was also the husband of Barbara Palmer (née Villiers), mistress to King Charles II. The Earl was also given the title Baron Limerick. The earldom was named after Castle Maine in County Kerry.

The title was limited to his male heirs by Barbara (i.e. as opposed, that is, to any later wife he might have), making it clear that the earldom was for his wife's services to the King, and not his own. As the only child officially fathered by the 1st Earl (which probably was not actually his) was female, the title became extinct on his death.

The seat of the Palmer family is Dorney Court, Dorney, Buckinghamshire.

Earls of Castlemaine, First Creation (1661)

 * Roger Palmer, 1st Earl of Castlemaine (1634–1705)

title: Earl of Castlemaine


text: User talk:68.60.12.44

title: User talk:68.60.12.44


text:
Jack Pennington

Jack Pennington (born September 3, 1953) is a dirt Late Model driver from Augusta, Georgia.

He was an ace in late model dirt track racing before he moved up to the Busch Series in 1989 making six starts, finishing with 2 top tens. He made his Winston Cup debut late in 1989, driving two races that year. He then ran fourteen races in 1990 in the No. 47 Oldsmobile Cutlass Supreme for Close Racing, he led in the 1990 Daytona 500 at one point with leading 6 laps in that race. He was second in the 1990 Rookie of the Year standings in controversial fashion (because the winner was posthumously awarded after being killed in a drunken driving incident returning home from the September North Wilkesboro round; NASCAR has since added a disciplinary rule that requires drivers to finish the season in good standing, which Pennington would have won the title under current rules). He never raced in NASCAR again after that year, returning to the Georgia dirt Late Model circuit, winning often over 20 features each year for the next decade.

Career award
He was inducted in the National Dirt Late Model Hall of Fame in 2006.

NASCAR
(key) ( Bold – Pole position awarded by qualifying time. Italics – Pole position earned by points standings or practice time. * – Most laps led. )

title: Jack Pennington


text:
Strætó bs

Strætó bs is a public transport company which operates city buses in the Icelandic capital region, including Reykjavík and surrounding satellite towns and suburbs. Strætó also manages rural bus services for most of the country, including services along the south coast and to north Iceland, in cooperation with the Icelandic Road Administration. Strætó bs was created in its current form through the merger of preexisting bus companies in the region, tracing its roots to the year 1931. Strætó bs is owned and run by the seven municipalities in the region: Reykjavík, Kópavogur, Hafnarfjörður, Garðabær, Mosfellsbær, Seltjarnarnes and Álftanes.

As of 2023, 27 city routes and 18 rural routes are operated. The company has a fleet of 85 buses which are coloured bright yellow, 15 of which are battery electric buses and 3 CNG buses. Strætó aims to have converted its whole fleet to zero emissions by 2030. All buses are fitted with real time passenger information systems and free Wi-Fi. Most larger bus stops also have real time departure boards.

Bus network
Most bus routes run at about 15-minute intervals during peak hours on weekdays,and at 30-minute intervals during off-peak hours and at weekends. Routes 1 and 6 are operated on a 10 minute peak frequency and a 15 minute off peak frequency. There are 27 routes, eight of which are trunk routes (routes 1–8) that run between the main city centre terminal at Hlemmur and the various residential neighbourhoods on the city's outskirts; these use the main traffic arteries and are thus the fastest routes available. Nine of the routes are general routes (routes 11–19) that also stop at Hlemmur terminal but go deeper into the different neighborhoods on slower streets. The remaining routes are neighborhood routes (routes 21-36) that run within or between the suburbs and do not stop in downtown Reykjavík.

The buses operate from nine terminals in the Capital Region. The main terminals are Hlemmur and Lækjartorg in downtown Reykjavík; the others are at Hamraborg in Kópavogur, Fjörður in Hafnarfjörður, Ásgarður in Garðabær, Ártún, Mjódd, Spöngin in Reykjavík and Háholt in Mosfellsbær. All of these main bus terminals are served by at least one red (trunk) route.

Night bus
As of 2023, there are five night bus routes operated in the Reykjavík capital region on Friday and Saturday nights. Fares are double the usual day fare and only operate in one direction: from the city centre to the suburbs on an approximately hourly basis. For special events such as the city Culture Night, extra services have been provided during the night. The routes are numbered 101, 103, 104, 105 and 106.

Long distance routes
Bus routes numbered from 50–100 are long-distance routes that run to locations all around Iceland. Some very rural routes are request routes and one must call ahead for the service to operate. Long distance services operated by Strætó bs. from Reykjavík generally depart from the Mjódd bus terminal in the outskirts.

City fares
There is a standard flat fare for a single ticket within the capital region of Reykjavík, allowing unlimited transfers for 75 minutes from activation. The single fare in 2023 is ISK 570 for adults. Concessionary fares with discounts of 50% are available for children, senior citizens and 70% for disabled people. Children under 11 travel free. Season tickets are available with the same concessions as single tickets, as well as a 50% student concession.

1 day and 3 day travelcards are also available.

Fare media
An open-loop account based electronic fare payment system called KLAPP was introduced in 2021. A reusable Klapp smartcard can be purchased and registered, and single, season and concessionary tickets can be loaded onto the card. The Klapp smartphone app has the same functionality using barcodes. One can also buy disposable paper barcode tickets, as a carnet of 10 single tickets as well as 1 and 3 day travelcards.

Alternatively, a single fare can be paid directly to the driver in cash, with no change being given, and a paper receipt is issued as a ticket.

Future
With the new Klapp payment system, it is envisioned that direct payment by contactless debit and credit cards will be possible by the end of 2023. In addition, fare-capping will be introduced.

Long distance fares
Long distance fares are defined by a zone system based on distance travelled. Tickets are purchased on board and paid directly to the driver in cash or by credit/debit card. Concessionary single fares are half price for children, senior and disabled people. Children under the age of 11 travel for free. There are no reservations and one cannot purchase tickets ahead of time.

Season tickets for long distance journeys can be purchased for a specific region for a period of 1, 3 or 12 months and are issued as a separate card, with concessionary fares available.

It is envisioned that long distance ticketing will be migrated to the new Klapp payment system.

History and network development
Stætó bs. in its current form was created on 1 July 2001 by the merger of SVR (Strætisvagnar Reykjavíkur) and AV (Almenningsvagnar). SVR previously operated in Reykjavík and nearby satellites in the northern part of the Capital Region, while AV covered the southern part of the region.

On 23 July 2005, a new route network was instituted to replace the previous network, which had been practically unchanged for decades. New routes had been added in new developing areas, but the core routes were largely untouched until 2005. Planning for the revised network began in 2001. The greatest change was the introduction of the 'trunk routes' and their increased frequency during peak hours. Unfortunately, the introduction of the new network caused a great deal of controversy and confusion as people (especially senior citizens, who make up a large percentage of users) had gotten used to the old routes. Additionally, some smaller neighbourhoods were entirely cut out of the routes, resulting in long walks to the nearest bus station. The controversy seems to have died down, and in fact complaints have arisen every time the system has been changed in the past.

On 5 March 2006, some refinements were made to the network in response to comments from users and drivers after the 2005 revision. The greatest change was the addition of three routes to better cover some neighborhoods and increase interlinking between areas.

In 2010, a new green line 16 was added to provide a bus every 15 minutes between Hlemmur and Nauthóll. Also, the course of route 18 was changed: it now terminates at Grafarholt instead of going through to Spöngin. The new blue line 26 connects Spöngin and Hraunsás. On both lines, a new stop 'Mímisbrunnur/Úlfarsbraut' was added. In late summer, there were other changes: Lines 31/32 that used to go through the area around Spöngin (terminus of Route 6) were cancelled. Instead of these two circular routes, line 6 now goes through Borgir, Víkur and Barðastaðir and back to Spöngin for an increased frequency in Borgir, Víkur and Barðastaðir, but cutting Hamrar and Rimar from the network. During weekends and late evenings, buses drive from Barðastaðir down to Grafarholt where they serve the new extended Grafarholt area and then head back to Barðastaðir and Spöngin. Also, the route of line 22 was changed for the evenings: It now runs via Álfaskleið instead of serving Skútuhraun/Slökkviðstöð back to Fjörður terminal, so an hourly service in central Hafnarfjörður can be provided.

In 2011, Strætó bs. decreased the number of bus journeys per day. Routes 2 and 5 run on weekdays only, stopping as early as 6 pm. In general, operating hours have been cut: instead of midnight, buses stop operating at about 11:30 pm. The last routes now terminate at about 11:30 pm. Route 36 was abandoned and 35 now runs at 30 minute intervals all day.

But there has also been expansion: service on lines 23 and 28 has been improved. Although the Vífilsstaðir branch of line 23 has been abandoned, the frequency of buses to Álftanes is now every 30 minutes during rush hours and every 60 minutes during the rest of the day. On Sundays, there is a taxi service several times a day to Álftanes and one late night bus is available as taxi service all days of the week from Ásgarður.

Route 28 was expanded to meet the demands of residents from the Vatnsendi area. Instead of having to take the 30 minutes ride to Hamraborg/Kópavorgur, the bus runs now to Mjódd as well, so that travelling times from Vatnsendi to connecting trunk routes have been cut by twenty minutes.

In early 2012, bus services in Southern Iceland (Suðurland) were extended. Apart from the bus services from Mjódd to Selfoss and Hveragerði, there are now buses further east in southern Iceland: to Þorlákshöfn, the Laugarvatn area, Vík í Mýrdal/Skógar, Skaftafell and Höfn í Hornafirði.

The first regular night bus service in Reykjavík started in January 2018 on a year-long trial basis. The service consisted of six routes (101, 102, 103, 105, 106, and 111) which started at the central bus station Hlemmur running out to the suburbs. In October 2018 Strætó announced that night bus usage had been too low in the preceding ten months, with only routes 101 and 106 having shown an acceptable level of ridership during that time. Route 111 was discontinued in January 2019 while the remaining five were kept on until 31 March 2020 when all night buses in Reykjavík were suspended until further notice as a result of the COVID-19 pandemic. In July 2022, Strætó resumed the night service, adding two new routes that had not existed before services were paused in March 2020. The previous routes of the 101, 102, 103, 105 and 106 were reinstated, as well as two new routes numbered 104 and 107. The new 107 route follows much the same route as route 111 which was discontinued in January 2019.

In spring 2023, Stræto announced that there had been record high boardings in the month of March, with 1,242,000 boardings in the capital area. This adds up to about 40,000 boardings per day,or just over 20,000 round trips (individual riders) per day.

In 2021, consultation and planning began for a major reorganisation of the bus route network in conjunction with the construction of a bus rapid transit system in the Reykjavík Capital region, called Borgarlína.

title: Strætó bs


text:
Elimiotis

Elimiotis or Elimeia (Ἐλιμιώτις or Ἐλιμία or Ἐλίμεια) was a region of Upper Macedonia that was located along the Haliacmon river. The capital of Elimiotis was Aiani, located in the modern municipality of Kozani, Western Macedonia. It was bordered by Orestis and Eordaea in the north, Pieria in the east, Perrhaebia/Thessaly in the south and Parauaea in the west, and was inhabited by the Epirote Greek tribe of Elimiotes (Ἐλιμιῶται). In earlier times, it was independent and the Derdas family ruled the local kingdom from its capital Aiane. However, later it lost its independence and by 355 BC, Elimiotis was part of the kingdom of Macedon.

Archons of Elimiotis

 * Arrhidaeus (born before 513 BC)
 * Derdas I (505–435)
 * Sirras (437–390)
 * Derdas II (385–360)
 * Derdas III (360–355), last king of Elimiotis

Notable people

 * Antigonus I Monophthalmus (382-301 BC), Hellenistic ruler.
 * Calas, general and satrap of Alexander the Great.
 * Coenus, general of Alexander the Great.
 * Cleander, officer of Alexander the Great.
 * Harpalus, noble and boyhood friend of Alexander the Great.
 * Machatas of Elimeia, noble of Elimiotis.
 * Philip of Machatas, general of Alexander the Great.
 * Polemocrates, noble of Elimiotis.

title: Elimiotis


text:
Talk:Bistrița (Siret)

Comments
(( too bad this is a stub))

The bistrita is a quit long river.

Following the Bistrita starting from Vatra Dornei you encounter the following villages.

- Ortozia - Rusca - Calinesti - Zugreni (nice camping site, near the water) - Chiri - Cojoci - Satu Mare - Cruces - Holda - Hodita - Brosteni - Lungeni - Munca - Borca - Paraul Pinei - Farcasa - Pocesti - Paraul fagului - Teului - Roseni

And finaly: Lacul Bicaz or Lacul Izvorului

Disambiguization of River names
The Bistriţa river is one of the names of Romanian rivers which needs disbambiguization. However, in the case of Romania, the use of historic provinces is not the best way to differentiate the rivers. Actually using Bistriţa (Moldavia), Bistriţa (Transylvania) and Bistriţa (Vâlcea) is inconsistent. Moldavia is the name of a province, Vâlcea the name of a county. Actually Bistriţa (Moldavia) is incorrect as the river crosses from Transylvania to Moldavia. If we use Bistriţa (Transylvania) we don't really know to which one the article refers. This is not really a disambiguization.

The correct way to differentiate the rivers by river basins. Administratively the rivers in Romania are managed by river basin agencies, and therefore it would make more sense to indicate the river basin to which the rivers belong. Thus we should use Bistriţa (Siret), Bistriţa (Someş) and Bistriţa (Olt).

Afil 00:47, 1 February 2007 (UTC)

title: Talk:Bistrița (Siret)


text:
File:Vallhalla 12.jpg

The cover of the 12th Valhalla album, art by Peter_Madsen.

title: File:Vallhalla 12.jpg


text: User talk:65.54.97.196

title: User talk:65.54.97.196