In zoological nomenclature, a type species is the species name with which the name of a genus or subgenus is considered to be permanently taxonomically associated, i.e. the species that contains the biological type specimen. A similar concept is used for suprageneric groups called a type genus. In botanical nomenclature, these terms have no formal standing under the code of nomenclature, but are sometimes borrowed from zoological nomenclature. In botany, the type of a genus name is a specimen, the type of a species name; the species name that has that type can be referred to as the type of the genus name. Names of genus and family ranks, the various subdivisions of those ranks, some higher-rank names based on genus names, have such types. In bacteriology, a type species is assigned for each genus; every named genus or subgenus in zoology, whether or not recognized as valid, is theoretically associated with a type species. In practice, there is a backlog of untypified names defined in older publications when it was not required to specify a type.

A type species is both a concept and a practical system, used in the classification and nomenclature of animals. The "type species" represents the reference species and thus "definition" for a particular genus name. Whenever a taxon containing multiple species must be divided into more than one genus, the type species automatically assigns the name of the original taxon to one of the resulting new taxa, the one that includes the type species; the term "type species" is regulated in zoological nomenclature by article 42.3 of the International Code of Zoological Nomenclature, which defines a type species as the name-bearing type of the name of a genus or subgenus. In the Glossary, type species is defined as The nominal species, the name-bearing type of a nominal genus or subgenus; the type species permanently attaches a formal name to a genus by providing just one species within that genus to which the genus name is permanently linked. The species name in turn is fixed, to a type specimen. For example, the type species for the land snail genus Monacha is Helix cartusiana, the name under which the species was first described, known as Monacha cartusiana when placed in the genus Monacha.

That genus is placed within the family Hygromiidae. The type genus for that family is the genus Hygromia; the concept of the type species in zoology was introduced by Pierre André Latreille. The International Code of Zoological Nomenclature states that the original name of the type species should always be cited, it gives an example in Article 67.1. Astacus marinus Fabricius, 1775 was designated as the type species of the genus Homarus, thus giving it the name Homarus marinus. However, the type species of Homarus should always be cited using its original name, i.e. Astacus marinus Fabricius, 1775. Although the International Code of Nomenclature for algae and plants does not contain the same explicit statement, examples make it clear that the original name is used, so that the "type species" of a genus name need not have a name within that genus, thus in Article 10, Ex. 3, the type of the genus name Elodes is quoted as the type of the species name Hypericum aegypticum, not as the type of the species name Elodes aegyptica.

Glossary of scientific naming Genetypes – genetic sequence data from type specimens. Holotype Paratype Principle of Typification Type Type genus

Songs for the Daily Planet is the 1994 debut album of American alternative country artist Todd Snider. It was released in 1994 via MCA Records; the album contains 12 songs, all written or co-written by Snider. "Talkin' Seattle Grunge Rock Blues", a hidden track on the album, was a minor radio hit. Mark Chesnutt covered "Trouble" on his 1995 album Wings, Gary Allan covered "Alright Guy" on his 2001 album Alright Guy, both of which were produced by Tony Brown. Jack Leaver of Allmusic wrote that it was "A rootsy record that combines country and folk elements with a genuine rock & roll sensibility", rating the album 4.5 out of 5 stars. Dan Kening of the Chicago Tribune rated it 3.5 out of 4 stars, comparing Snider's sound to Billy Joe Shaver and Steve Earle while noting "deft lyrical insights" on songs such as "This Land Is Our Land" and "You Think You Know Somebody". Rating it "A–", Bob Cannon of Entertainment Weekly compared Snider's sound to R&B music and Bruce Springsteen, while noting that "You Think You Know Somebody" was "moving—the last thing you'd expect from a wiseass."

All songs written by Todd Snider except. "My Generation" - 3:09 "Easy Money" - 5:16 "That Was Me" - 3:15 "This Land Is Our Land" - 4:31 "Alright Guy" - 4:30 "I Spoke as a Child" - 4:16 "Turn It Up" - 4:31 "Trouble" - 3:42 "Alot More" - 4:52 "You Think You Know Somebody" - 4:26 "Somebody's Coming" - 4:05 "Joe's Blues" - 8:43 includes hidden track "Talkin' Seattle Grunge Rock Blues" Compiled from liner notes. MusiciansMarshall Chapman - background vocals Ashley Cleveland - background vocals Peter Hyrka - violin, acoustic guitar, squeeze box, finger snaps Doug Lancio - additional electric guitar on "This Land Is Our Land" Tom Littlefield - background vocals Mark "Hoot" Marchetti - finger snaps, vibraphone Joe Mariencheck - bass guitar, finger snaps, background vocals Joe McLeary - drums Terry McMillan - percussion Edgar Meyer - double bass Eddy Shaver - electric guitar Todd Snider - vocals, acoustic guitar, harmonica Harry Stinson - background vocals Michael Utley - piano, organTechnicalChuck Ainlay - overdubbing Tony Brown - production Jim Demain - overdubbing Richard Dodd - overdubbing, mixing Lee Groitzsch - recording Steve Hall - mastering Roger Nichols - recording, overdubbing Steven B.

Schnoor - engineering Brian Tankersley - recording John Thomas II - engineering Michael Utley - production

The Great Electric Show and Dance is an album by blues musician Lightnin' Hopkins recorded in Texas and released on Stan Lewis' Jewel Records label in 1969. AllMusic reviewer Steve Leggett stated: "what these tracks reveal is a professional band struggling to make heads or tails out of Hopkins' abrupt random chord changes and tendency to elongate or shorten sung lines at will. Nothing congeals as the band chases the baffling and elusive Hopkins from cut to cut locking in, only to have Hopkins veer off into new rhythmic directions that only he could anticipate. It's fascinating in a way, a bit like watching blind drunks navigate home from the bar at closing time, each one on roller skates and with a held but different idea about longitude and latitude. No one wins here, not Hopkins, not the band, not anyone listening to it, making this an album only dead serious Lightnin' Hopkins collectors should seek to find". All compositions by Sam "Lightnin'" Hopkins "Lovin' Arms" – 2:48 "Rock Me Mama" – 2:00 "Mr. Charlie, Pt.

One" – 2:15 "Mr. Charlie, Pt. Two" – 2:30 "Play with Your Poodle" – 1:25 "You're Too Fast" – 1:45 "Love Me This Morning" – 3:20 "I'm Comin' Home" – 2:45 "Ride in Your New Automobile" – 3:06 "Breakfast Time" – 2:55 Lightnin' Hopkins – guitar, vocals Unidentified musicians – harmonica, keyboards. Bass, drums Don Logan – producer