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Chevrolet Astro

The Chevrolet Astro is a minivan that was manufactured and marketed by the Chevrolet division of American auto manufacturer General Motors from 1985 to 2005. Sold alongside the GMC Safari, the Astro was marketed in multiple configurations, including passenger van and cargo van.

The Astro and Safari used a rear-wheel-drive chassis; all-wheel drive became an option in 1990. For its entire production, the Astro and Safari were produced by Baltimore Assembly in Baltimore, Maryland; the vans would be the final model line produced by the facility. In total, approximately 3.2 million Astros and Safaris were produced from 1985 through 2005.

Background
The Astro and Safari were introduced for the 1985 model year as the first minivan from General Motors. While marketed as a response to the first-generation Chrysler minivans, GM selected a rear-wheel drive layout, sizing the Astro and Safari closely to the short-wheelbase Chevrolet G10 van. Similar to the Ford Aerostar, to reduce production costs, GM adapted light-truck powertrain components; engines and transmissions were sourced from the Chevrolet S-10, allowing for a towing capacity of up to 5500 lb.

Prior to its use on a minivan, the Astro nameplate was used twice by General Motors; in 1967 (for the Chevrolet Astro 1 concept car) and from 1969 until 1987 (on the GMC Astro COE semitractor). GMC sourced the Safari nameplate from Pontiac (used by the latter to denote station wagons). As GMC was half of the Pontiac/GMC Division (later including Buick), from 1985 through 1989, both GMC and Pontiac Safaris were simultaneously offered through the same dealership network.

First generation (1985–1994)
Initial advertising boasted that it was a vehicle that will "make you realize that life is too big for a minivan," referring to the Chrysler minivans. The van can have a seating configuration between two and eight passengers.

Engine choices ranged from a 98 hp 2.5L four-cylinder to a 200 hp 4.3L V6, depending on options and model year. The 4-cylinder engine was only offered in short-length, rear-wheel-drive cargo vans, as well as passenger vans for 1985 only; it was dropped after 1990. For 1985, the 4.3L V6 (RPO LB1) used a 4-barrel carburetor. For 1986, throttle body fuel injection (TBI) was used. For 1992 and later years, a central port injection was used.

Much like the second-generation F-body 1970–1981 and X-body vehicles, the Astro/Safari (internally designated as the M-body for RWD models or L-body for AWD models) had a bolt-on subframe. For the M-van, the front suspension shared most components with the GM B-body station wagon (Chevrolet Caprice, Oldsmobile Custom Cruiser and larger variants of the Pontiac Safari and Buick Estate Wagon) with a leaf-spring rear suspension. The lower ball joints were larger than their B-body counterparts (similar to the 1977–96 Cadillac D platform vehicles; e.g., Fleetwood limousines). These ball joints were later used in the final Chevrolet Caprice 9C1 (police package) cars manufactured in 1995 and 1996. They also shared many mechanical similarities to the GMT 325/330 mid-size S/T pickups and utility vehicles.

Digital dashboards were offered in the first-generation Astro; this option did not continue after 1995.

1989 was the final year that the BorgWarner T-5 manual transmission was made available. All subsequent models were equipped with 700R4/4L60 automatic transmissions through 1993. In 1990, a new all-wheel drive (AWD) system (the first U.S.-built minivan to do so), designed and developed by FF Developments (FFD), was made optional. The AWD models had a lower fuel economy: 17 miles per gallon on the highway versus 20 to 21 miles per gallon for rear-wheel-drive vans. AWD Astros used a BorgWarner 4472 transfer case.

The 1990 model year also introduced a new analog dashboard and the hydroboost braking system, a system using the same accessory belt-driven pump to supply the power steering and brakes. In mid-1990, an extended body option, sharing its wheelbase with the shorter version, also became available.

In 1992, a new optional door form was introduced, colloquially known as Dutch doors. This form was two bi-parting doors with a flip-up window above. Previously, Astro and Safari vans were equipped only with bi-parting doors. An optional 4.3L V6 (RPO L35) engine with central port injection and a balance shaft was phased in.

In 1993, the electronically-controlled 4L60E 4-speed automatic transmission with overdrive became standard as the sole transmission offering. As with many other 1993 model year GM vehicles, Scotchgard fabric protection also became a standard feature on Astro vans equipped with cloth seats. 1994 also saw the addition of three new exterior paint colors. These colors were Indigo Blue Metallic (#39), Light Quasar Blue Metallic (#20), and Medium Quasar Blue Metallic (#80).

Second generation (1995–2005)
For 1995, the model was facelifted with an extended nose that resembled the then-new full-size Express vans; while the original rectangular sealed-beam headlights were retained for use on lower trim levels, higher-spec models now used horizontally-mounted rectangular headlights that had debuted on the full-size trucks in 1988, and would eventually appear on the smaller trucks in 1998. Also for 1995, the short-length body was dropped. In 1996, a redesigned dash received a passenger-side airbag. The vans remained mostly unchanged until the end of production in 2005.

For 2003, GM upgraded the chassis of both the Astro and Safari with certain suspension components, four-wheel disc brakes, and six-lug 16-inch wheels from the full-size Chevrolet and GMC half-ton pickup trucks.

Production in 1998 totaled 32,736 units. However, sales from that point were decreasing and the second-shift production was eliminated in the summer of 2000. Sales of the Astro totaled only 15,709 in 2003, down about 16% from 2002. By 2004, sales of the Chevrolet Astro and GMC Safari vans were in a downward trend, and the cost of upgrading the vans to meet new 2005 safety standards was too high. As a result, production at the Baltimore facility was stopped, with the last example rolling off the assembly line on May 13, 2005.

Safety and crash testing
For the 1995 model year, GM started manufacturing most of its vehicles, including the Astro and Safari, with CFC-free air conditioning systems, which used R134a refrigerant instead of R-12 refrigerant.

The Insurance Institute for Highway Safety (IIHS), gave the Astro a "Poor" rating in 1996 because of a display of structural failure in the institute's 40 mi/h crash test into a fixed, offset barrier. The underbody of the test van buckled, pitching both front seats forward and shoving the crash dummy into the dashboard and steering wheel, resulting in a broken left leg, leading the institute to comment that "[t]he collapse of the occupant compartment left little survival space for the driver."

In testing performed by the National Highway Traffic Safety Administration (NHTSA); however, the Astro and Safari fared better, improving from a single-star rating in 1991 to a three-star (driver) and four-star (passenger) rating by 2000. In side impacts, the Astro and Safari both received the highest, five-star rating in every year that the test was administered.

In 2007, the IIHS reported that the 2001–2004 model year Chevrolet Astro recorded during calendar years 2002–2005 the fewest killed drivers of all passenger vehicles in the United States, as calculated per every million units on the road. Drivers' habits and vehicle usage might have influenced this result.

title: Chevrolet Astro


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Anthony Traill

Anthony Traill may refer to:

 * Anthony Traill (college provost) (1838–1914), provost of Trinity College Dublin
 * Anthony Traill (linguist) (1939–2007), South African linguist
 * Anthony Traill (priest) (1755–1831), rector of Skull and Archdeacon of Connor in Ireland, father of Robert Traill

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

title: Anthony Traill


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United States budget process

The United States budget process is the framework used by Congress and the President of the United States to formulate and create the United States federal budget. The process was established by the Budget and Accounting Act of 1921, the Congressional Budget and Impoundment Control Act of 1974, and additional budget legislation.

Prior to 1974, Congress had no formal process for establishing a federal budget. When President Richard Nixon began to refuse to spend funds that Congress had allocated, they adopted a more formal means by which to challenge him. The Congressional Budget Act of 1974 created the Congressional Budget Office (CBO), which gained more control of the budget, limiting the power of the President's Office of Management and Budget (OMB). The Act passed easily while the administration was embroiled in the Watergate scandal and was unwilling to provoke Congress.

Discretionary spending
Discretionary spending requires an annual appropriation bill, which is a piece of legislation. Discretionary spending is typically set by the House and Senate Appropriations Committees and their various subcommittees. Since the spending is typically for a fixed period (usually a year), it is said to be under the discretion of the Congress. Some appropriations last for more than one year (see Appropriation bill for details). In particular, multi-year appropriations are often used for housing programs and military procurement programs.

As of 2019, there are 12 appropriations bills which need to be passed each fiscal year in order for continued discretionary spending to occur. The subject of each appropriations bill corresponds to the jurisdiction of the respective House and Senate appropriation subcommittees:

Multiple bills are sometimes combined into one piece of legislation, such as the Omnibus Appropriations Act, 2009. A continuing resolution is often passed if an appropriations bill has not been signed into law by the end of the fiscal year.

Authorization bills
In general, funds for federal government programs must be authorized by an "authorizing committee" through enactment of legislation. Then, through subsequent acts by Congress, budget authority is appropriated by the Appropriations Committee of the House. In principle, committees with jurisdiction to authorize programs make policy decisions, while the Appropriations Committees decide on funding levels, limited to a program's authorized funding level, though the amount may be any amount less than the limit. But it all starts with the president's budget.

Presidential budget request
The United States budget process begins when the President of the United States submits a budget request to Congress. The President's budget is formulated over a period of months with the assistance of the Office of Management and Budget (OMB), the largest office within the Executive Office of the President. The budget request includes funding requests for all federal executive departments and independent agencies. Budget documents include supporting documents and historical budget data and contains detailed information on spending and revenue proposals, along with policy proposals and initiatives with significant budgetary implications. The President's budget request constitutes an extensive proposal of the administration's intended revenue and spending plans for the following fiscal year. The budget proposal includes volumes of supporting information intended to persuade Congress of the necessity and value of the budget provisions. In addition, each federal executive department and independent agency provides additional detail and supporting documentation on its own funding requests. The documents are also posted on the OMB website.

The Budget and Accounting Act of 1921 requires the President to submit the budget to Congress for each fiscal year, which is the 12-month period beginning on October 1 and ending on September 30 of the next calendar year. The current federal budget law ((a)) requires that the President submit the budget between the first Monday in January and the first Monday in February. In recent times, the President's budget has been submitted in the first week of February. The budget submission has been delayed, however, in some new presidents' first year when the previous president belonged to a different party. The 2014 United States federal budget was not submitted by the President until April 10, 2013 due to negotiations over the United States fiscal cliff and implementation of the sequester cuts mandated by the Budget Control Act of 2011 (the House had already prepared its budget proposal on March 21, and the Senate proposed a budget on March 23).

President Warren G. Harding brought about the enactment of the Budget and Accounting Act of 1921, which, for the first time, required the President to submit a budget annually to Congress and which established the Bureau of the Budget, the forerunner of the Office of Management and Budget, to assist in the formulation of the budget. Initially the Bureau was within the U.S. Department of the Treasury, but in 1939 it was moved to the Executive Office of the President.

Budget resolution
The budget resolution is in the form of a concurrent resolution passed by both the House of Representatives and the Senate but is not presented to the President and does not have the force of law. It sets out the congressional budget. The budget resolution establishes various budget totals, allocations, entitlements, and may include reconciliation instructions to designated House or Senate committees. A particularity of the budget (and reconciliation) process is that members of Congress may offer unlimited amendments to budget resolutions, which are normally quickly disposed of at the end of the statutory 50 hours of debate in a so-called "vote-a-rama".

The President's budget submission is referred to the House and Senate Budget Committees and to the Congressional Budget Office (CBO). Other committees with budgetary responsibilities submit requests and estimates to the budget committees during this time.

In March, the CBO publishes an analysis of the President's proposals. The CBO budget report and other publications are also posted on the CBO website. CBO computes a current-law baseline budget projection that is intended to estimate what federal spending and revenues would be in the absence of new legislation for the current fiscal year and for the coming 10 fiscal years. However, the CBO also computes a current-policy baseline, which makes assumptions about, for instance, votes on tax cut sunset provisions. The current CBO 10-year budget baseline projection grows from $4.1 trillion in 2018 to $7.0 trillion in 2028.

In March, the budget committees consider the President's budget proposals in the light of the CBO budget report, and each committee submits a budget resolution to its house by April 1. The House and Senate each consider these budget resolutions, and are expected to pass them, possibly with amendments, by April 15. A budget resolution is a kind of concurrent resolution; it is not a law, and therefore does not require the President's signature.

There is no obligation for either or both houses of Congress to pass a budget resolution. There may not be a resolution every year; if none is established, the previous year's resolution remains in force. For example, the Senate had not passed a budget resolution for FY2011, FY2012, or FY2013, but did pass the FY2014 budget resolution on March 23, 2013, 23 days before the April 15 deadline set by the No Budget, No Pay Act of 2013. This was the first budget resolution passed by the Senate since a FY2010 budget passed on April 29, 2009. The House and Senate may propose a budget independently of the President's budget. For example, for the 2014 budget process, the House prepared its budget proposal on March 21, and the Senate proposed a budget on March 23, while the President's budget was not submitted until April 10.

After both houses pass a budget resolution, selected Representatives and Senators negotiate a conference report to reconcile differences between the House and the Senate versions. The conference report, in order to become binding, must be approved by both the House and Senate. The budget resolution serves as a blueprint for the actual appropriation process and provides Congress with some control over the appropriation process. All new discretionary spending requires authority through enactment of appropriation bills or continuing resolutions.

Each function within the budget may include "budget authority" and "outlays" that fall within the broad categories of discretionary spending or direct spending.

Allocations
The 302(a) allocation specifies the total amount of money available to appropriates. They are generally included in the report accompanying the budget resolution, or if a budget resolution is not passed, each chamber may determine its own 302(a) allocation. This process was modified somewhat by the Budget Control Act of 2011, which is in effect though FY2021, which sets two overall caps for defense and nondefense spending that the 302(a) allocation must adhere to. The Bipartisan Budget Act of 2018 and the Bipartisan Budget Act of 2019, also in effect through FY2021, gave the Chairs of the Budget Committees authority to determine 302(a) allocations.

The 302(b) allocations specify how funds are divided among the individual appropriations subcommittees, corresponding to the 12 appropriations bills. 302(b) allocations are adopted by the full House and Senate Appropriations Committees.

Appropriations bills
The budget resolutions specify funding levels for the House and Senate Appropriations Committees and their 12 subcommittees, establishing various budget totals, allocations, entitlements, and may include reconciliation instructions to designated House or Senate committees. The appropriations committees start with allocations in the budget resolution and draft appropriations bills, which may be considered in the House after May 15. Once appropriations committees pass their bills, they are considered by the House and Senate. When there is a final budget, the spending available to each appropriations committee for the coming fiscal year is usually provided in the joint explanatory statement included in the conference report. The appropriations committees then allocate that amount among their respective subcommittees, each to allocate the funds they control among the programs within their jurisdiction.

A conference committee is typically required to resolve differences between House and Senate appropriation bills. Once a conference bill has passed both chambers of Congress, it is sent to the President, who may sign the bill or veto it. If he signs, the bill becomes law. Otherwise, Congress must pass another bill to avoid a shutdown of at least part of the federal government.

In recent years, Congress has not passed all of the appropriations bills before the start of the fiscal year. Congress may then enact continuing resolutions that provide for the temporary funding of government operations. Failure to appropriate funds results in a partial government shutdown, such the federal government shutdown in October 2013.

In practice, the separation between policy making and funding and the division between appropriations and authorization activities are imperfect. Authorizations for many programs have long lapsed, yet still receive appropriated amounts, while other programs that are authorized receive no funds at all. In addition, policy language, which is legislative text changing permanent law, is included in appropriation measures.

Reconciliation bills
The budget resolution may also specify that a reconciliation bill may be introduced, which is subject to restrictions in its content but cannot be filibustered in the Senate.

Apportionment
Apportionment is the process by which the Office of Management and Budget specifies the funding level for specific agencies and programs within the constraints of the appropriations bills after they have passed.

Mandatory spending
Direct spending, also known as mandatory spending, refers to spending enacted by law, but not dependent on an annual or periodic appropriation bill. Most mandatory spending consists of transfer payments and earned benefits such as Social Security benefits, Medicare, and Medicaid. Many other expenses, such as salaries of federal judges, are mandatory, but account for a relatively small share of federal spending. The Congressional Budget Office (CBO) estimates costs of mandatory spending programs on a regular basis.

Congress can affect spending on entitlement programs by changing eligibility requirements or the structure of programs. Certain programs, because the language authorizing them are included in appropriation bills, are termed "appropriated entitlements." This is a convention rather than a substantive distinction, since the programs, such as Food Stamps, would continue to be funded even were the appropriation bill to be vetoed or otherwise not enacted.

Budget functions
The federal budget is divided into categories known as budget functions. These functions include all spending for a given topic, regardless of the federal agency that oversees the individual federal program. Both the President's budget, and Congress' budget resolution provide summaries by function, but they do not line up with the twelve appropriations bills.

List of budget functions:

title: United States budget process


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Joan Sutherland

Dame Joan Alston Sutherland, (7 November 1926 – 10 October 2010) was an Australian dramatic coloratura soprano known for her contribution to the renaissance of the bel canto repertoire from the late 1950s to the 1980s.

She possessed a voice combining agility, accurate intonation, pinpoint staccatos, a trill and a strong upper register, although music critics complained about her poor diction.

Sutherland was the first Australian to win a Grammy Award, for the year 1961 Best Classical Performance – Vocal Soloist (with or without orchestra) presented in 1962.

She was known as and is widely regarded as one of the greatest sopranos of all time.

Early and personal life
Joan Sutherland was born in Sydney, Australia, to Scottish parents and attended St Catherine's School in the suburb of Waverley, New South Wales. As a child, she listened to and imitated her mother's singing exercises. Her mother, a mezzo-soprano, had taken voice lessons but never considered singing as a career. Sutherland was 18 years old when she began seriously studying voice with John and Aida Dickens. She made her concert debut in Sydney, as Dido in a production of Henry Purcell's Dido and Aeneas, in 1947. After winning Australia's most important competition, the (Sydney) Sun Aria in 1949, she came third after the baritone Ronal Jackson in radio 3DB's £1,000 Mobil Quest, which she won a year later. In 1951, she made her stage debut in Eugene Goossens's Judith. She then went to London to further her studies at the Opera School of the Royal College of Music with Clive Carey. She was engaged by the Royal Opera House, Covent Garden, as a utility soprano, and made her debut there on 28 October 1952, as the First Lady in The Magic Flute, followed in November by a few performances as Clotilde in Vincenzo Bellini's opera Norma, with Maria Callas as Norma.

Being an admirer of Kirsten Flagstad in her early career, she trained to be a Wagnerian dramatic soprano. In December 1952, she sang her first leading role at the Royal Opera House, Amelia in Un ballo in maschera. Other roles included Agathe in Der Freischütz, the Countess in The Marriage of Figaro, Desdemona in Otello, Gilda in Rigoletto, Eva in Die Meistersinger von Nürnberg, and Pamina in The Magic Flute. In 1953, she sang the role of Lady Rich in Benjamin Britten's Gloriana a few months after its world premiere, and created the role of Jenifer in Michael Tippett's The Midsummer Marriage, on 27 January 1955.

Sutherland married Australian conductor and pianist Richard Bonynge on 16 October 1954. Their son, Adam, was born in 1956. Bonynge gradually convinced her that Wagner might not be her Fach, and that since she could produce high notes and coloratura with great ease, she should perhaps explore the bel canto repertoire. She eventually settled in this Fach, spending most of her career singing dramatic coloratura soprano.

Career
In 1957, she appeared in Handel's Alcina with the Handel Opera Society, and sang selections from Donizetti's Emilia di Liverpool in a radio broadcast. The following year she sang Donna Anna in Don Giovanni in Vancouver.

In 1959, Sutherland was invited to sing Lucia di Lammermoor at the Royal Opera House in a production conducted by Tullio Serafin and staged by Franco Zeffirelli. The role of Edgardo was sung by her fellow Australian Kenneth Neate, who had replaced the scheduled tenor at short notice. In 1960, she recorded the album The Art of the Prima Donna: the double LP set won the Grammy Award for Best Classical Performance – Vocal Soloist in 1962. The album was added to the National Film and Sound Archive's Sounds of Australia registry in 2011.

Sutherland sang Lucia to great acclaim in Paris in 1960 and, in 1961, at La Scala and the Metropolitan Opera. For her Met performance of Lucia di Lammermoor, standees began lining up at 7:30 that morning. Her singing of the Mad Scene drew a 12-minute ovation. In 1960 she sang Alcina at La Fenice. Sutherland would soon be praised as La Stupenda in newspapers around the world. Later that year (1960), Sutherland sang Alcina at the Dallas Opera, with which she made her US debut. Her Metropolitan Opera debut took place on 26 November 1961, when she sang Lucia. After a total of 223 performances in a number of different operas, her last appearance there was a concert on 12 March 1989. During the 1978–82 period her relationship with the Met deteriorated when Sutherland had to decline the role of Constanze in Mozart's Die Entführung aus dem Serail, more than a year before the rehearsals were scheduled to start. The opera house management then declined to stage the operetta The Merry Widow especially for her, as requested; subsequently, she did not perform at the Met during that time at all, even though a production of Rossini's Semiramide had also been planned, but later she returned there to sing in other operas.

During the 1960s, Sutherland added the heroines of bel canto to her repertoire: Violetta in Verdi's La traviata, Amina in Bellini's La sonnambula and Elvira in Bellini's I puritani in 1960; the title role in Bellini's Beatrice di Tenda in 1961; Marguerite de Valois in Meyerbeer's Les Huguenots and the title role in Rossini's Semiramide in 1962; Norma in Bellini's Norma and Cleopatra in Handel's Giulio Cesare in 1963. In 1966 she added Marie in Donizetti's La fille du régiment.

In 1965, Sutherland toured Australia with the Sutherland-Williamson Opera Company. Accompanying her was a young tenor named Luciano Pavarotti.

During the 1970s, Sutherland strove to improve her diction, which had often been criticised, and increase the expressiveness of her interpretations. She continued to add dramatic bel canto roles to her repertoire, such as Donizetti's Maria Stuarda and Lucrezia Borgia, as well as Massenet's Esclarmonde. With Pavarotti she made a studio-recording of Turandot in 1972 conducted by Zubin Mehta, though she never performed the role on stage.

Sutherland's early recordings show her to be possessed of a crystal-clear voice and excellent diction. However, by the early 1960s her voice lost some of this clarity in the middle register, and she often came under fire for having unclear diction. Some have attributed this to sinus surgery; however, her major sinus surgery was done in 1959, immediately after her breakthrough Lucia at Covent Garden. In fact, her first commercial recording of the first and final scene of Lucia reveals her voice and diction to be just as clear as prior to the sinus procedure. Her husband Richard Bonynge stated in an interview that her "mushy diction" occurred while striving to achieve perfect legato. According to him, it is because she earlier had a very Germanic "un-legato" way of singing.

During the 1980s, Sutherland added Anna Bolena, Amalia in I masnadieri, and Adriana Lecouvreur to her repertoire, and repeated Esclarmonde at the Royal Opera House performances in November and December 1983. Her last full-length dramatic performance was as Marguerite de Valois (Les Huguenots) at the Sydney Opera House in 1990, at the age of 63, where she sang Home Sweet Home for her encore. Her last public appearance, however, took place in a gala performance of Die Fledermaus on New Year's Eve, 1990, at Covent Garden, where she was accompanied by her colleagues Luciano Pavarotti and the mezzo-soprano Marilyn Horne. According to her own words, given in an interview with The Guardian newspaper in 2002, her biggest achievement was to sing the title role in Esclarmonde. She considered those performances and recordings her best.

Retirement years
After retirement, Sutherland made relatively few public appearances, preferring a quiet life at her home in Les Avants, Switzerland. One exception was her 1994 address at a lunch organised by Australians for Constitutional Monarchy, when Sutherland commented: "It also upsets me that it is such a damned job to get an Australian passport now – you have to go to be interviewed by a Chinese or an Indian. I'm not particularly racist, but I find it ludicrous." Her criticism caused controversy.

On 3 July 2008, she fell and broke both legs while gardening at her home in Switzerland.

Film role
Sutherland had a leading role as Mother Rudd in the 1995 comedy film Dad and Dave: On Our Selection opposite Leo McKern and Geoffrey Rush.

Publications
In 1997, she published an autobiography, A Prima Donna's Progress. It received mixed reviews for its literary merits. Library Journal stated, Opera superstar Dame Joan Sutherland gives an exhaustive account of her performing and recording career over four decades. From her early years in Australia and with the Covent Garden company in London, to her daunting schedule at most of the major opera houses of the world, we read endlessly of where, when, and with whom she sang which roles. We're shown a sensible woman and a hard-working artist, with a healthy ego tempered by a sense of humor that is often self-deprecating. The work includes a complete list of all her performances, with full cast lists.

Her official biography, Joan Sutherland: The Authorised Biography, published in February 1994, was written by Norma Major, wife of the then prime minister John Major.

In 2002, she appeared at a dinner in London to accept the Royal Philharmonic Society's gold medal. She gave an interview to The Guardian in which she lamented the lack of technique in young opera singers and the dearth of good teachers. By this time she was no longer giving master classes herself; when asked by Italian journalists in May 2007 why this was, she replied: "Because I'm 80 years old and I really don't want to have anything to do with opera any more, although I do sit on the juries of singing competitions." The Cardiff Singer of the World competition was the one that Sutherland was most closely associated with after her retirement. She began her regular involvement with the event in 1993, serving on the jury five consecutive times and later, in 2003, becoming its patron.

Death
On 11 October 2010, Sutherland's family announced that she had died at her home at Les Avants in Switzerland the previous day of cardiopulmonary failure – "the heart just gave out...When it came to the point that she physically couldn't do anything, she didn't want to live any more. She wanted to go, she was happy to go, and in the end she died very, very peacefully." Though she recovered from her fall in 2008, it led to more serious health problems. A statement from her family said "She's had a long life and gave a lot of pleasure to a lot of people." Sutherland had requested a small, private funeral service. Her funeral was held on 14 October and Opera Australia planned a tribute to her. Artistic director of Opera Australia, Lyndon Terracini, said "We won't see her like again. She had a phenomenal range, size and quality of voice. We simply don't hear that any more." Sutherland is survived by her husband, son, daughter-in-law and two grandchildren.

Australian Prime Minister Julia Gillard said, "She was of course one of the great opera voices of the 20th century," adding that Sutherland showed a lot of "quintessential Australian values. She was described as down to earth despite her status as a diva. On behalf of all Australians I would like to extend my condolences to her husband Richard and son Adam and their extended family at this difficult time. I know many Australians will be reflecting on her life's work today."

Memorial service
A State Memorial Service on 9 November 2010, arranged by Opera Australia, was held at the Sydney Opera House. Speakers at the service were Julia Gillard, Prime Minister of Australia; Professor Marie Bashir, the Governor of New South Wales; Moffatt Oxenbould, the former Artistic Director of Opera Australia; and Sutherland's son, Adam Bonynge. The service was broadcast live by both ABC1 television and ABC Classic FM (radio) and streamed globally by ABC News 24. Further memorial services were held in Westminster Abbey on 15 February 2011, and in New York City on 24 May 2011, which was hosted by Marilyn Horne with an appearance by Richard Bonynge. In attendance were Sherrill Milnes, Norman Ayrton, Regina Resnik, and Spiro Malas.

Vocal timbre
Described as "fresh," "silvery" and "bell-like" until 1963, Joan Sutherland's voice later became "golden" and "warm"; music critic John Yohalem writes it was like "molten honey caressing the line". In his book Voices, Singers and Critics, John Steane writes that "if the tonal spectrum ranges from bright to dark, Sutherland's place would be near the centre, which is no doubt another reason for her wide appeal." According to John Yohalem, "Her lower register was a cello register, Stradivarius-hued." Her voice was full and rounded even in her highest notes, which were brilliant, but sometimes "slightly acid."

In 1971, Time writes an article comparing Sutherland and Beverly Sills, "Originally bright and youthful-sounding, her voice darkened as she transformed herself into a coloratura. There is a suggestion of Callas' famous middle register in Sutherland's vocal center—a tone that sounds as if the singer were singing into the neck of a resonant bottle. Today the Sutherland voice towers like a natural wonder, unique as Niagara or Mount Everest. Sills' voice is made of more ordinary stuff; what she shares with Callas is an abandon in hurling herself into fiery emotional music and a willingness to sacrifice vocal beauty for dramatic effect. Sutherland deals in vocal velvet, Sills in emotional dynamite. Sutherland's voice is much larger, but its plush monochrome robs it of carrying power in dramatic moments. Sills' multicolored voice, though smaller, projects better and has a cutting edge that can slice through the largest orchestra and chorus. Sometimes, indeed, it verges on shrillness. [...] In slow, legato music, Sills has a superior sense of rhythm and clean attack to keep things moving; Sutherland's more flaccid beat and her style of gliding from note to note often turn song into somnolence. Sills' diction in English, French and Italian is superb; Sutherland's vocal placement produces mushy diction in any language, but makes possible an even more seamless beauty of tone than is available to Sills."

Describing Sutherland's voice, John Yohalem writes: "On my personal color scale, which runs from a voluptuous red (Tebaldi) or blood-orange (Price) or purple (Caballé) or red-purple (Troyanos) to white-hot (Rysanek) or runny yellow-green (Sills), Sutherland is among the 'blue' sopranos – which has nothing to do with 'blues' in the pop sense of the term. (Ella Fitzgerald had a blue voice, but Billie Holiday had a blues voice, which is very different.) Diana Damrau is blue. Mirella Freni is blue-ish. Karita Mattila is ice blue. Régine Crespin was deep blue shading to violet. Sutherland was true blue (like the Garter ribbon). There is a coolness here that can take on the passion in the music but does not inject passion where the music lacks it, could possibly use it."

Vocal category, size and range
Although she is generally described as a dramatic coloratura soprano, "categorizing Sutherland's voice has always been extremely difficult, both the size and the sound present definitional problems [...] Aside from singing some roles popular among coloratura sopranos, Sutherland's voice could not be more different."

In a 1961 profile in The New York Times Magazine, Sutherland said she initially had "a big rather wild voice" that was not heavy enough for Wagner, although she did not realise this until she heard "Wagner sung as it should be."

Regarding the size of Sutherland's voice, Opera Britannia praise "a voice of truly heroic dimensions singing bel canto. It is doubtful if any soprano in this repertoire has fielded quite so much power and tone as Dame Joan, and this includes Callas and Tetrazzini. The contrast with other sopranos who sing the same roles is appropriately enough stupendous, with rival prima donnas producing small pin points of sound as compared to Sutherland's seemingly endless cascades of full tone." In 1972, music critic Winthrop Sargeant describes her voice "as large as that of a top-ranking Wagnerian soprano" in The New Yorker. French soprano Natalie Dessay states, "She had a, voice and she was able to lighten suddenly and to take this quick coloratura and she had also the top high notes like a coloratura soprano but with a  voice, which is very rare."

Sutherland's vocal range extended from G below the staff (G3) to high F (F6), or high F-sharp (F♯6), although she never sang this last note in a public performance.

Honours
During her career and after, Sutherland received many honours and awards. She was made a Commander of the Order of the British Empire (CBE) in the 1961 Birthday Honours. That year she was named the Australian of the Year. Sutherland is a Distinguished Member of the Sigma Alpha Iota International Music Fraternity.

In the 1975 Queen's Birthday Honours, she was in the first group of people to be named Companions of the Order of Australia (AC) (the order had been created only in February 1975). She was elevated within the Order of the British Empire from Commander to Dame Commander (DBE) in the 1979 New Year Honours.

On 29 November 1991, the Queen bestowed on Sutherland the Order of Merit (OM).

Awards
In 1992 Sutherland was a founding patron and active supporter of the Tait Memorial Trust in London. A charity established by Isla Baring OAM, the daughter of Sir Frank Tait of J. C. Williamson's to support young Australian performing artists in the UK. Sir Frank Tait was the Australian impresario who created and managed the Sutherland-Williamson tour of Australia in 1965.

Sutherland House and the Dame Joan Sutherland Centre, both at St Catherine's School, Waverley, and the Joan Sutherland Performing Arts Centre (JSPAC), Penrith, are all named in her honour.

John Paul College, a leading private school in Queensland, Australia, dedicated its newly established facility the Dame Joan Sutherland Music Centre in 1991. Sutherland visited the centre for its opening and again in 1996.

She received the Lifetime Contribution Award in 2001 Echo Klassik. In January 2004 she received the Australia Post Australian Legends Award which honours Australians who have contributed to the Australian identity and culture. Two stamps featuring Joan Sutherland were issued on Australia Day 2004 to mark the award. Later in 2004, she received a Kennedy Center Honor for her outstanding achievement throughout her career.

On 22 May 2007, the year of the centenary of the birth of soprano Lina Pagliughi, she received the award La Siòla d'Oro at the Teatro Comunale di Bologna.

In 2012, Sutherland was voted into the first Hall of Fame of the magazine Gramophone.

Roles
Sutherland performed live the following complete roles.

Recordings
Recitals

Sutherland made various recital and lieder recordings, usually with Richard Bonynge, many of them originally double-LPs. Some are still available in CD-format.

In 2011 Decca re-released these recitals in a 23-CD set (Complete Decca Studio Recitals, Decca 4783243) comprising:
 * Operatic Arias (1959)
 * The Art of the Prima Donna (1960) 2CD
 * Command Performance (1962) 2CD
 * The Age of Bel Canto (with Marilyn Horne and Richard Conrad, 1963) 2CD
 * Joy to the World (Christmas Album, 1965)
 * The Noël Coward Album (1966)
 * Love Live Forever (1966) 2CD
 * Romantic French Arias (1969) 2CD
 * Songs My Mother Taught Me (1972)
 * Operatic Duets (with Luciano Pavarotti, 1976)
 * Serate Musicali (1978) 2CD
 * Sutherland sings Wagner (1978)
 * Sutherland sings Mozart (1979)
 * Bel Canto Arias (1985)
 * Talking Pictures (1986)
 * Romantic Trios, Songs for soprano, horn and piano (1987)
 * Rarities and first recordings (1958/59 to 1967/68)

Opera recordings (non-exhaustive)

Vincenzo Bellini
 * Beatrice di Tenda—Joan Sutherland (Beatrice), Luciano Pavarotti (Orombello), Cornelius Opthof (Filippo), Josephine Veasey (Agnese), Joseph Ward (Anichino/Rizzardo), Ambrosian Opera Chorus, London Symphony Orchestra, Richard Bonynge, recorded 1966 Decca
 * I puritani—Joan Sutherland (Elvira), Pierre Duval (Arturo), Renato Capecchi (Riccardo), Ezio Flagello (Giorgio), Giovanni Fioiani (Gualtiero), Margreta Elkins (Enrichetta), Piero de Palma (Bruno), Coro e Orchestra del Maggio Musicale Fiorentino, Richard Bonynge (conductor)—recorded 1963—Decca 448 969-2 / Decca 467 789-2 (part of a 10-CD set) / London POCL 3965-7
 * I puritani—Joan Sutherland (Elvira), Luciano Pavarotti (Arturo), Piero Cappuccilli (Riccardo), Nicolai Ghiaurov (Giorgio), Giancarlo Luccardi (Gualtiero), Anita Caminada (Enrichetta), Renato Cazzaniga (Bruno), Chorus of the Royal Opera, Covent Garden, London Symphony Orchestra—Richard Bonynge, recorded 1973, Decca
 * La sonnambula—Joan Sutherland (Amina), Nicola Monti (Elvino), Fernando Corena (Rodolfo), Sylvia Stahlman (Lisa), Margreta Elkins (Teresa), Angelo Mercuriali (Notary), Giovanni Fioiani (Alessio), Coro e Orchestra del Maggio Musicale Fiorentino, Richard Bonynge recorded 1962—Decca 00289 448 9662 6 / 000320702 / 455 823-2—Track listing
 * La sonnambula—Joan Sutherland (Amina), Luciano Pavarotti (Elvino), Nicolai Ghiaurov (Rodolfo), Isobel Buchanan (Lisa), Della Jones (Teresa), Piero De Palma (Notaro), John Tomlinson (Alessio), National Philharmonic Orchestra, London Opera Chorus, Richard Bonynge, recorded 1980—Decca 2LH417-424
 * Norma—Joan Sutherland (Norma), Marilyn Horne (Adalgisa), John Alexander (Pollione), Richard Cross (Oroveso), Yvonne Minton (Clotilde), Joseph Ward (Flavio), London Symphony Orchestra and Chorus, Richard Bonynge, recorded 1964—Decca
 * Norma—Joan Sutherland (Norma), Margreta Elkins (Adalgisa), Ronald Stevens (Pollione), Clifford Grant (Oroveso), Etela Piha (Clotilde), Trevor Brown (Flavio), Opera Australia Chorus, Elizabethan Sydney Orchestra, Richard Bonynge, recorded 1978—DVD Arthaus Musik 100 180
 * Norma—Joan Sutherland (Norma), Montserrat Caballé (Adalgisa), Luciano Pavarotti (Pollione), Samuel Ramey (Oroveso), Diana Montague (Clotilde), Kim Begley (Flavio), Chorus and Orchestra of the Welsh National Opera, Richard Bonynge, recorded 1984—Decca

Georges Bizet
 * Carmen—Regina Resnik (Carmen), Mario Del Monaco (Don Jose), Joan Sutherland (Micaëla), Tom Krause (Escamillo), Georgette Spanellys (Frasquita), Yvonne Minton (Mercedes), Robert Geay (Zuniga), Jean Prudent (Le Dancaire), Alfred Hallet (Le Remendado), Claude Cales (Morales). Orchestre de la Suisse Romande, recorded 1963

Giovanni Bononcini
 * Griselda (highlights)—Joan Sutherland (Griselda), Lauris Elms (Ernesto), Monica Sinclair (Gualtiero), Margreta Elkins (Almirena), Spiro Malas (Rambaldo), Ambrosian Opera Chorus, London Philharmonic Orchestra, Richard Bonynge, recorded 1966. Decca 448 977-2 (coupled with Montezuma)

Francesco Cilea
 * Adriana Lecouvreur—Joan Sutherland (Adriana Lecouvreur), Carlo Bergonzi (Maurizio), Francesco Ellero d'Artegna (Il Principe di Bouillon), Cleopatra Ciurca (La Principessa di Bouillon), Leo Nucci (Michonnet), Chorus and Orchestra of the Welsh National Opera, Richard Bonynge, recorded 1988, Decca.

Léo Delibes
 * Lakmé—Joan Sutherland (Lakmé), Gabriel Bacquier (Nilakantha), Jane Berbié (Malika), Émile Belcourt (Hadji), Alain Vanzo (Gérald), Monte Carlo Opera Chorus, Orchestre National de l'Opéra de Monte-Carlo, Richard Bonynge, recorded 1967, Decca Records.

Gaetano Donizetti
 * Emilia di Liverpool (excerpts) / Lucia di Lammermoor (excerpts)—Joan Sutherland (Lucia), Margreta Elkins (Alisa), Joao Gibin (Edgardo), Tullio Serafin (conductor). Recorded 26 February 1959—Myto Records MCD 91545 (Probably these are excerpts from the same performance as the Melodram recording.)
 * Lucia di Lammermoor—Joan Sutherland (Lucia), Renato Cioni (Edgardo), Robert Merrill (Enrico), Cesare Siepi (Raimondo), Chorus & Orchestra of the Accademia di Santa Cecilia, John Pritchard (conductor), Decca, 1961.
 * Lucia di Lammermoor—Joan Sutherland (Lucia), Luciano Pavarotti (Edgardo), Sherrill Milnes(Enrico), Nicolai Ghiaurov (Raimondo), Chorus & Orchestra of the Royal Opera House, Covent Garden, Richard Bonynge, Decca, 1971.
 * Lucia di Lammermoor—Joan Sutherland (Lucia), João Gibin (Edgardo), John Shaw (Enrico), Joseph Rouleau (Raimondo), Kenneth MacDonald (Arturo), Margreta Elkins (Alisa), Robert Bowman (Normanno), Chorus & Orchestra of the Royal Opera House, Covent Garden, Tullio Serafin, recorded 1959—Golden Melodram GM 50024 or Giuseppe di Stefano GDS 21017 or Bella Voce BLV 107 218 (highlights). 2006 release: Royal Opera House Heritage Series ROHS 002.
 * Lucia di Lammermoor—Joan Sutherland (Lucia), André Turp (Edgardo), John Shaw (Enrico), Joseph Rouleau (Raimondo), Kenneth MacDonald (Arturo), Margreta Elkins (Alisa), Edgar Evans (Normanno), Chorus & Orchestra of the Royal Opera House, Covent Garden, John Pritchard, recorded 1961—Celestial Audio CA 345
 * Lucia di Lammermoor—Joan Sutherland (Lucia), Richard Tucker (Edgardo), Frank Guarrera (Enrico), Nicola Moscona (Raimondo), Robert Nagy (Normanno), Thelma Votipka (Alisa), Charles Anthony (Arturo), Metropolitan Opera House, conductor: Silvio Varviso. Recorded 9 December 1961 for radio broadcasting.
 * La fille du régiment—Joan Sutherland (Marie), Luciano Pavarotti (Tonio), Monica Sinclair (La Marquise de Berkenfield), Jules Bruyère (Hortensius), Spiro Malas (Sulpice), Eric Garrett (Le Caporal), Edith Coates (La Duchesse de Crakentorp), Orchestra & Chorus of the Royal Opera House, Covent Garden, Richard Bonynge. Recorded: Kingsway Hall, London, 17–28 July 1967. Original LP release: SET 372-3 (two LPs), CD release: 414 520-2 DH2 (two CDs).
 * L'elisir d'amore—Joan Sutherland (Adina), Luciano Pavarotti (Nemorino), Dominic Cossa (Belcore), Spiro Malas (Dulcamara), Maria Casula (Giannetta), Ambrosian Opera Chorus, English Chamber Orchestra, Richard Bonynge. Recorded: Kingsway Hall, London, 12–23 January and 1–10 July 1970. Original LP release: SET 503-5 (three LPs), CD release: 414 461-2 DH2 (two CDs), CD re-release: 475 7514 DOR2 (two CDs).
 * Lucrezia Borgia—Joan Sutherland (Lucrezia Borgia), Ronald Stevens (Gennaro), Margreta Elkins (Maffio Orsini), Richard Allman (Don Alfonso), Robin Donald (Jacopo Liveretto), Lyndon Terracini (Don Apostolo Gazella), Gregory Yurisich (Ascanio Petrucci), Lamberto Furlan (Oloferno Vitellozzo), Pieter Van der Stolk (Gubetta), Graeme Ewer (Rustighello), John Germain (Astolfo), Neville Grave (Un servo), Eddie Wilden (Un coppiere), Jennifer Bermingham (Principessa Negroni), Australian Opera Chorus, Sydney Elizabethan Orchestra, Richard Bonynge, recorded 1977. VHS Video Cassette—Castle Video CV2845 (PAL); Polygram-Vidéo 070 031-3 (SECAM) Polygram 079 261-3 (PAL)
 * Lucrezia Borgia—Joan Sutherland (Lucrezia), Giacomo Aragall (Gennaro), Marilyn Horne (Orsini), Ingvar Wixell (Alfonso), London Opera Chorus, National Philharmonic Orchestra, Richard Bonynge (conductor), Decca, 1977.
 * Maria Stuarda—Joan Sutherland (Maria), Huguette Tourangeau (Elisabeta), Luciano Pavarotti (Leicester), Roger Soyer (Talbot), Margreta Elkins (Anna), James Morris (Cecil), Coro del Teatro Comunale di Bologna, Orchestra del Teatro Comunale di Bologna, Richard Bonynge, recorded 1975—Decca 00289 425 4102 / Lyrica LRC 1040/1041—Track listing and excerpts

Charles Gounod
 * Faust—Joan Sutherland (Marguerite), Franco Corelli (Faust), Nicolai Ghiaurov (Méphistophélès), Robert Massard (Valentin), Margreta Elkins (Siébel), Monica Sinclair (Marthe), Raymond Myers (Wagner), Ambrosian Opera Chorus and Highgate School Choir, London Symphony Orchestra, Richard Bonynge, Decca 0289 4705632 4 (2002 release) / 421 240-2 (1991 release) / 467 059-2 / London POCL 3962-4 Track listing and audio samples

George Frideric Handel
 * Acis and Galatea—Joan Sutherland (Galatea), Peter Pears (Acis), Owen Brannigan (Polyphemus), David Galliver (Damon), The St. Anthony Singers, Philomusica of London, Sir Adrian Boult (conductor). L'Oiseau-Lyre OL 50179-80
 * Alcina—Joan Sutherland (Alcina), Margreta Elkins (Ruggiero), Lauris Elms (Bradamante), Richard Greager (Oronte), Narelle Davidson (Morgana), Ann-Maree McDonald (Oberto), John Wegner (Melisso), Chorus and Orchestra of Australian Opera, Richard Bonynge, recorded 1983. Celestial Audio CA 112
 * Alcina coupled with Giulio Cesare in Egitto (highlights)—Margreta Elkins (Giulio Cesare), Joan Sutherland (Cleopatra), Marilyn Horne (Cornelia), Monica Sinclair (Tolomeo), Richard Conrad (Sesto), New Symphonic Orchestra of London, Richard Bonynge—Decca 00289 433 7232 / 467063-2 / 467 067-2—Track listing and excerpts
 * Athalia—Joan Sutherland, Emma Kirkby, Aled Jones, James Bowman, Anthony Rolfe Johnson, David Thomas, The Academy of Ancient Music, Christopher Hogwood (conductor)
 * Messiah—Joan Sutherland, Grace Bumbry, Kenneth McKellar, David Ward, London Symphony Orchestra, Sir Adrian Boult (conductor)—Decca 433 003-2
 * Rodelinda—Alfred Hallett (Grimoaldo), Raimund Herincx (Garibaldo), Joan Sutherland (Rodelinda), Dame Janet Baker (Eduige), Margreta Elkins (Bertarido), Patricia Kern (Unolfo), Chandos Singers, Philomusica Antiqua Orchestra, Charles Farncombe. An English language version, recorded live on 24 June 1959—Opera D'oro OPD 1189 (two CDs) or Memories HR 4577-4578 or Living Stage LS 403 35147 (highlights).
 * Rodelinda—Joan Sutherland (Rodelinda), Huguette Tourangeau (Bertarido), Éric Tappy (Grimoaldo), Margreta Elkins (Eduige), Cora Canne-Meijer (Unolfo), Pieter Van Den Berg (Garibaldo), Netherlands Chamber Orchestra, Richard Bonynge. Recorded 30 June 1973—Bella Voce BLV 10 7206.

Jules Massenet
 * Esclarmonde—Joan Sutherland (Esclarmonde), Huguette Tourangeau (Parséis), Clifford Grant (Phorcas), Giacomo Aragall (Roland), Louis Quilico (the bishop of Blois), Ryland Davies (Enéas), Robert Lloyd (Cléomer), Finchley Children's Music Group, John Alldis Choir, National Philharmonic Orchestra, Richard Bonynge, Decca 3 CDs 475 7914 DM3 (2006 release)

Giacomo Meyerbeer
 * Les Huguenots—Joan Sutherland (Marguerite), Franco Corelli (Raoul), Giulietta Simionato (Valentine), Nicolai Ghiaurov (Marcel), Fiorenza Cossotto (Urbain), Gianandrea Gavazzeni, Orchestra e Coro del Teatro Alla Scala. Live: 7 June 1962. Opera D'Oro. Sung in Italian.
 * Les Huguenots—Dominic Cossa (Nevers), Gabriel Bacquier (Saint-Bris), Nicola Ghiuselev (Marcel), John Wakefield (Tavannes), Joseph Ward (Cossé), John Noble (Thoré), Glynne Thomas (Retz), John Gibbs (Meru), Clifford Grant (Maurevert), Janet Coster (Léonard), Dame Kiri Te Kanawa (1st Maid of Honour), Josephte Clement (2nd Maid of Honour), Arleen Auger (1st Gypsy Girl), Maureen Lehane (2nd Gypsy Girl), Joan Sutherland (Marguerite de Valois), Martina Arroyo (Valentine), Huguette Tourangeau (Urbain), Anastasios Vrenios (Raoul de Nangis), Alan Opie (2nd Monk), NPO, Bonynge. Decca 430 549-2, recorded in 1969.

Wolfgang Amadeus Mozart
 * Idomeneo—Sergei Baigildin (Idomeneo), Margreta Elkins (Idamante), Henri Wilden (Arbace), Leona Mitchell (Ilia), Joan Sutherland (Elettra), Australian Opera Chorus, Sydney Elizabethan Orchestra, Richard Bonynge, recorded 1979. Gala GLH 826 (highlights) and Celestial Audio CA 060 (highlights)
 * Don Giovanni—Gottlob Frick (Commendatore), Luigi Alva (Don Ottavio), Graziella Sciutti (Zerlina), Joan Sutherland (Donna Anna), Piero Cappuccilli (Masetto), Elisabeth Schwarzkopf (Donna Elvira), Eberhard Wächter (Don Giovanni), Heinrich Schmidt, Giuseppe Taddei (Leporello), London Philharmonia Orchestra, Carlo Maria Giulini. Recorded 1959—EMI 0724356787353
 * Don Giovanni—Gabriel Bacquier (Don Giovanni), Pilar Lorengar (Donna Elvira), Marilyn Horne (Zerlina), Joan Sutherland (Donna Anna), English Chamber Orchestra, Richard Bonynge. Decca 448 973-2

Jacques Offenbach
 * Les contes d'Hoffmann—Joan Sutherland (Stella\Olympia\Antonia\Giulietta), Plácido Domingo (Hoffmann), Gabriel Bacquier (Lindorf\Coppelius\Miracle\Dappertutto), L'Orchestre de la Suisse Romande, Orchestre du Radio de la Suisse Romande, Pro Arte de Lausanne, Andre Charlet, Richard Bonynge, studio recording made at Victoria Hall, Geneva, first published in 1976.

Giacomo Puccini
 * Suor Angelica—Joan Sutherland (Angelica), Christa Ludwig (La Zia Principessa), National Philharmonic Orchestra, Richard Bonynge. Decca 475 6531 (coupled with Leoni's "L'oracolo")
 * Turandot—Joan Sutherland (Turandot), Luciano Pavarotti (Calaf), Montserrat Caballé (Liu), Nicolai Ghiaurov (Timur), Peter Pears (Emperor), London Philharmonic Orchestra, Zubin Mehta. Decca 414 274-2, recorded in 1972.

Gioachino Rossini
 * Semiramide—Joan Sutherland (Semiramide), John Serge (Idreno), Joseph Rouleau (Assur), Spiro Malas (Oroe), Patricia Clark (Azema), Leslie Fyson(Mitrane), Michael Langdon (Spectre of Nino), Marilyn Horne (Arsace), London Symphony Orchestra, Richard Bonynge. Decca 425 481-2, recorded in 1966.

Ambroise Thomas
 * Hamlet—Joan Sutherland, Gösta Winbergh, James Morris, Sherill Milnes, Orchestra and Chorus of the Welsh National Opera. Decca, 433 857-2, recorded in April 1983.

Giuseppe Verdi
 * Ernani—Luciano Pavarotti (Ernani), Joan Sutherland (Elvira), Leo Nucci (Carlo), Paata Burchuladze (Silva), Linda McLeod (Giovanna), Richard Morton (Riccardo), Alastair Miles (Jago), Orchestra and Chorus of Welsh National Opera, Richard Bonynge. Recorded: Walthamstow Assembly Hall, 10–21 May 1987. Original CD release: 421 412-2 DHO2 (two CDs), CD re-release: 475 7008 DM2 (two CDs)
 * I masnadieri—Joan Sutherland, Samuel Ramey, Franco Bonisolli, Matteo Manuguerra, Simone Alaimo, Orchestra and Chorus of the Welsh Nation, Richard Bonynge. CD re-release in 1993: 433 854-2 (two CD, DDD).
 * Requiem—Joan Sutherland, Marilyn Horne, Luciano Pavarotti, Martti Talvela, Vienna State Opera Chorus and Vienna Philharmonic, sir Sir Georg Solti (1967), Decca 411 944-2
 * Requiem—Joan Sutherland, Fiorenza Cossotto, Luigi Ottolini, Ivo Vinco, Philharmonia Orchestra and Chorus, Carlo Maria Giulini (1960 live recording), Myto 00309
 * Rigoletto—Cornell MacNeil, Joan Sutherland, Renato Cioni, Cesare Siepi, Chorus & Orchestra of the Accademia di Santa Cecilia, Nino Sanzogno, Decca, 1961.
 * Rigoletto—Sherrill Milnes, Joan Sutherland, Luciano Pavarotti, Martti Talvela, Ambrosian Opera Chorus, London Symphony Orchestra, Richard Bonynge, Decca, 1971.
 * La traviata—Joan Sutherland, Carlo Bergonzi, Robert Merrill, Chorus & Orchestra of Maggio Musicale Fiorentino, John Pritchard, Decca, 1962
 * La traviata—Joan Sutherland, Luciano Pavarotti, Matteo Manuguerra, National Philharmonic Orchestra, Richard Bonynge. London 430 491-2 recorded in 1979.
 * Il trovatore—Luciano Pavarotti (Manrico), Ingvar Wixell (Il Conte di Luna), Nicolai Ghiaurov (Ferrando), Joan Sutherland (Leonora), Marilyn Horne (Azucena), Graham Clark (Ruiz), Norma Burrowes (Ines), Peter Knapp (Un vecchio zingaro), Wynford Evans (Un messo), London Opera Chorus, National Philharmonic Orchestra, Richard Bonynge. Recorded: Kingsway Hall, London, 8, 10, 11, 13–18, 20 September 1976; 26 March 1977. Original LP release: D82D 3 (three LPs), CD release: 417 137-2 DH2* (two CDs), CD re-release: 460 735-2 DF2 (two CDs). (Ballet music not included in CD release).

Richard Wagner
 * Siegfried—Joan Sutherland as the Woodbird, Vienna Philharmonic (Sir Georg Solti) 1962 recording, London 414 110-2

Video recordings
 * The Metropolitan Opera Centennial Gala, Deutsche Grammophon DVD, 00440-073-4358, 2009

title: Joan Sutherland


text:
Trout Quintet

The Trout Quintet (Forellenquintett) is the popular name for the Piano Quintet in A major, D. 667, by Franz Schubert. The piano quintet was composed in 1819, when he was 22 years old; it was not published, however, until 1829, a year after his death.

Rather than the usual piano quintet ensemble of piano and string quartet, the Trout Quintet is written for piano, violin, viola, cello and double bass.

According to Schubert's friend Albert Stadler, it was modelled on the quintet version of Johann Nepomuk Hummel's Septet in D Minor for Flute, Oboe, Horn, Viola, Cello, Bass and Piano, Op. 74. It may also have been influenced by Hummel's Quintet in E flat Op. 87.

Nickname
The piece is known as the Trout because the fourth movement is a set of variations on Schubert's earlier Lied "Die Forelle" ("The Trout"). The quintet was written for Sylvester Paumgartner, a wealthy music patron and amateur cellist from Steyr, Upper Austria, who also suggested that Schubert include a set of variations on the Lied. Sets of variations on melodies from his Lieder are found in four other works by Schubert: the Death and the Maiden Quartet, the "Trockne Blumen" (dried flowers) Variations for Flute and Piano (D. 802), the Wanderer Fantasy, and the Fantasia for Violin and Piano in C major (D. 934, on "Sei mir gegrüßt").

Analysis
The quintet consists of five movements: 1. Allegro vivace (A major)

2. Andante (F major)

3. Scherzo: Presto (A major)

4. Andantino – Allegretto (D major)

5. Allegro giusto (A major) The rising sextuplet figure from the song's accompaniment is used as a unifying motif throughout the quintet, and related figures appear in four out of the five movements – all but the Scherzo. As in the song, the figure is usually introduced by the piano, ascending.

I. Allegro vivace
The first movement is in sonata form. As is commonplace in works of the Classical genre, the exposition shifts from tonic to dominant; however, Schubert's harmonic language is innovative, incorporating many mediants and submediants. This is evident from almost the beginning of the piece: after stating the tonic for ten bars, the harmony shifts abruptly into F major (the flatted submediant) in the eleventh bar.

The development section starts with a similar abrupt shift, from E major (at the end of the exposition) to C major. Harmonic movement is slow at first, but becomes quicker; towards the return of the first theme, the harmony modulates in ascending half tones.

The recapitulation begins in the subdominant, making any modulatory changes in the transition to the second theme unnecessary, a frequent phenomenon in early sonata form movements written by Schubert. It differs from the exposition only in omitting the opening bars and another short section, before the closing theme.

II. Andante
This movement is composed of two symmetrical sections, the second being a transposed version of the first, except for some differences of modulation which allow the movement to end in the same key in which it began. Tonal layout (with some intermediate keys of lower structural significance omitted) as follows:
 * F major – F♯ minor – D major – G major – G minor – G major; A♭ major – A minor – F major – F minor – F major

III. Scherzo: Presto
This movement also contains mediant tonalities, such as the ending of the first section of the Scherzo proper, which is in C major, the flattened mediant, or the relative major of the parallel minor (A minor).

IV. Andantino – Allegretto
The fourth movement is a theme and variations on Schubert's Lied "Die Forelle". As typical of some other variation movements by Schubert (in contrast to Beethoven's style), the variations do not transform the original theme into new thematic material; rather, they concentrate on melodic decoration and changes of mood. In each of the first few variations, the main theme is played by a different instrument or group. In the fifth variation, Schubert begins in the flat submediant (B♭ major), and creates a series of modulations eventually leading back to the movement's main key, at the beginning of the final sixth variation.

A similar process is heard in three of Schubert's later compositions: the Octet in F major, D. 803 (fourth movement); the Piano Sonata in A minor, D. 845 (second movement); and the Impromptu in B♭ major, D. 935 No. 3. The concluding variation is similar to the original Lied, sharing the same characteristic accompaniment in the piano.

V. Allegro giusto
The Finale is in two symmetrical sections, like the second movement. However, the movement differs from the second movement in the absence of unusual chromaticism, and in the second section being an exact transposition of the first (except for some changes of octave register). A repeat sign is written for the first section: if one adheres meticulously to the score, the movement consists of three lengthy, almost identical repeats of the same musical material. Performers sometimes choose to omit the repeat of the first section when playing.

Although this movement lacks the chromaticism of the second movement, its own harmonic design is also innovative: the first section ends in D major, the subdominant. This is contradictory to the aesthetics of the Classical musical style, in which the first major harmonic event in a musical piece or movement, is the shift from tonic to dominant (or, more rarely, to mediant or submediant – but never to the subdominant).

Musical significance
Compared to other major chamber works by Schubert, such as the last three string quartets and the string quintet, the Trout Quintet is a leisurely work, characterized by lower structural coherence, especially in its outer movements and the Andante. These movements contain unusually long repetitions of previously stated material, sometimes transposed, with little or no structural reworking, aimed at generating an overall unified dramatic design ("mechanical" in Martin Chusid's words ).

The importance of the piece stems mainly from its use of an original and innovative harmonic language, rich in mediants and chromaticism, and from its timbral characteristics. The Trout Quintet has a unique sonority among chamber works for piano and strings, due mainly to the piano part, which for substantial sections of the piece concentrates on the highest register of the instrument, with both hands playing the same melodic line an octave apart (having been freed to do so by the inclusion of both cello and bass in the ensemble). Such writing also occurs in other chamber works by Schubert, such as the piano trios, but to a much lesser extent, and is characteristic of Schubert's works for piano four-hands, one of his most personal musical genres. Such timbral writing may have influenced the works of Romantic composers such as Frédéric Chopin, who admired Schubert's music for piano four-hands.

The quintet forms the basis of Christopher Nupen's 1969 film The Trout, in which Itzhak Perlman, Pinchas Zukerman, Jacqueline du Pré, Daniel Barenboim and Zubin Mehta perform it at Queen Elizabeth Hall in London.

Other uses
A portion of the Trout Quintet's fifth movement, performed by the Nash Ensemble, is used as the theme music for the BBC television comedy Waiting for God. The third movement performed by the Nash Ensemble is also used in the show.

Samsung washing machines and clothes dryers play an arrangement of the first portion of the fourth movement upon finishing a spin cycle.

title: Trout Quintet


text:
Talk:Morgan's Canon

Wiki Education Foundation-supported course assignment
This article was the subject of a Wiki Education Foundation-supported course assignment, between 4 September 2019 and 27 November 2019. Further details are available on the course page. Student editor(s): TOliver9712. Peer reviewers: Sydneyn23, Sjb165, Zh3538.

Above undated message substituted from Template:Dashboard.wikiedu.org assignment by PrimeBOT (talk) 04:27, 17 January 2022 (UTC)

Needed Correction
The doubts stumbled upon below should be taken seriously. The Thomas piece expresses the Academic consensus on the issue. As Wozniak (2002) puts it, "Morgan's Canon is not a principle of parsimony, it was not formulated as a guide to the description of behavior, it does not dispense with mental faculties, it is not an appeal to the observable, and it is not meant to be specific to animal psychology."

Possible Doubts
I stubled upon the following paper on Morgans's Canon by Roger K. Thomas from the University of Georgia:

http://htpprints.yorku.ca/archive/00000017/

Thomas questions monst of the claims in this article. —Preceding unsigned comment added by 141.2.187.32 (talk) 07:48, 27 October 2010 (UTC)

I
I have doubts about the appropriateness of this capital "C". Why is it used, rather than lower-case "c"? Michael Hardy 02:01, 24 Nov 2003 (UTC)

That's how my sources give it. It's analogous, of course to "Whomever's Law"; Wikipedia seems to mostly use lowercase "l", but sometimes uppercase "L", in these titles. Is there a policy or consensus one way or the other? orthogonal 02:43, 24 Nov 2003 (UTC)

With Maxwell's theorem and lots of others like it you see "theorem" in lower-case and maybe a redirect page with upper case. Similarly de Morgan's laws, if I recall correctly. Michael Hardy 00:51, 25 Nov 2003 (UTC)

Comment
Per the request at WT:MED: I have read this article and think it's all right, but not great. The first two "fixes" I'd recommend are removing the duplicated material (the canon is quoted twice) and re-writing it so that it uses the third person (instead of "we").

If the information is readily available, it would be interesting to know another case or two. In particular, it would be interesting to read about a case in which Morgan's Canon was invoked by people other than Morgan (say, after his death) to choose between competing interpretations. WhatamIdoing (talk) 02:12, 16 June 2008 (UTC)

 * Thanks very much - you are the first to respond. And really I have done no more to this one and the Morgan one than add pics and edit what was there. I happened on him by accident - he linked to Haeckel if I remember rightly - and it is left-field of my interest. Thanks for pointing out the rogue law, I had missed it or else pasted it in accidentally. Do you yourself know who best to link to in Wiki to make the story continue? Maybe there is already unlinked material. Redheylin (talk) 01:27, 17 June 2008 (UTC)

 * Well, my usual approach is to look through the editors who have previously worked on the article, and see whether any of them are willing and able to help out. A note left at WT:VET would also be appropriate in this case, since this isn't properly a human medical issue at all.  WhatamIdoing (talk) 19:44, 18 June 2008 (UTC)

Image
I find the new image (added here) confusing in conjunction with the caption. What is being described here? The old image was cute, but the new one doesn't add anything. — 184.32.43.63 (talk) 17:11, 31 July 2011 (UTC)

 * In what ways would the eye of a blue whale not be more appropriate for this article? — Preceding unsigned comment added by 118.209.215.179 (talk) 11:22, 14 July 2012 (UTC)

 * Agreed. And the fact that the photo is apparently related to corneal dystrophy could distract from the subject of this article. I understand the reasoning/sentiment to featuring an eye or some other easily anthropomorphized feature though. jrun (talk) 22:05, 20 May 2014 (UTC)

uncited opinion
Moving this here (from 'Context' section) for now: ..."the fact that Morgan was himself an acute observer of behaviour"...

Article has been tagged since June 2008 for its lack of citations, and this particular statement of opinion as fact desperately needs a citation.

-- Ty rS  02:43, 1 July 2012 (UTC)

Additional/potential references
Hi! I am a student editor working on the article for course credit. I am posting my current bibliography to this Talk page to show others which sources I am drawing/planning to draw my contributions from. These are the sources in question:

Browne, D. (2004). Do dolphins know their own minds? Biology & Philosophy, 19(4), 633–653. doi: 10.1007/sbiph-004-0928-1

Böhnert, M., & Hilbert, C. (2018). “Other minds than ours”: A controversial discussion on the limits and possibilities of comparative psychology in the light of C. Lloyd Morgan’s work. History and Philosophy of the Life Sciences, 40(3). doi: 10.1007/s40656-018-0211-4

Elwood, R. W., & Arnott, G. (2012). Understanding how animals fight with Lloyd Morgan's canon. Animal Behaviour, 84(5), 1095–1102. doi: 10.1016/j.anbehav.2012.08.035

Fitzpatrick, S. (2008). Doing away with Morgan’s Canon. Mind & Language, 23(2), 224–246. doi: 10.1111/j.1468-0017.2007.00338.x

Kimler, W. C. (2000). Reading Morgan's Canon: Reduction and Unification in the Forging of a Science of the Mind. American Zoologist, 40(6), 853–861. doi: 10.1093/icb/40.6.853

Mikhalevich, I., Powell, R., & Logan, C. (2017). Is behavioural flexibility evidence of cognitive complexity? How evolution can inform comparative cognition. Interface Focus, 7(3), 20160121. doi: 10.1098/rsfs.2016.0121

Starzak, T. (2016). Interpretations without justification: a general argument against Morgan’s Canon. Synthese, 194(5), 1681–1701. doi: 10.1007/s11229-016-1013-4

Takeuchi, T. (2016). Agonistic display or courtship behavior? A review of contests over mating opportunity in butterflies. Journal of Ethology, 35(1), 3–12. doi: 10.1007/s10164-016-0487-3 TOliver9712 (talk) 16:10, 12 October 2019 (UTC)

title: Talk:Morgan's Canon


text:
Mount Taranaki legend

In Māori legend, Taranaki is a mountain being that lived peacefully for many centuries in the centre of Aotearoa's Te Ika-a-Māui with four other mountains. Of the four mountains Tongariro, Ngauruhoe and Ruapehu were still fighting.

Nearby stood Mount Pihanga. Covered in a cloak of deep green forest she presented a stunning sight and all the mountain gods were in love with her.

Taranaki dared to make advances to Pihanga and was reproached by Tongariro and a mighty battle ensued between them. The earth shook and the sky became dark as the mountains belched forth their anger. When the battle ended the lovely Pihanga stood close by Tongariro's side. Taranaki, wild with grief and jealously, angrily wrenched his roots from the ground and left the other mountains.

Weeping, he plunged towards the setting sun, gouging out a deep wide trench. When he reached the sea he turned north and stumbled up the coast. As he slept that night the Pouakai Ranges snared and trapped Taranaki in the place he now rests.

The next day a stream of clear water sprang from the side of Tongariro. It flowed down the deep scar Taranaki had left on his journey to the coast to form the Whanganui River.

There are those who say that Taranaki is silently brooding and will one day try to return inland again to fight Tongariro. Consequently, many Māori were wary of living in the area between the mountains.

title: Mount Taranaki legend


text:
User:Sekicho

 * Japan Labor Standards Law (PDF)
 * Tosho member list
 * JAL fleet - to be completed

ja:User:Sekicho

title: User:Sekicho


text:
Otto Erich Deutsch

Otto Erich Deutsch (5 September 1883 – 23 November 1967) was an Austrian musicologist. He is known for compiling the first comprehensive catalogue of Franz Schubert's compositions, first published in 1951 in English, with a revised edition published in 1978 in German. It is from this catalogue that the D numbers used to identify Schubert's works derive.

Life
Deutsch was born in Vienna on 5 September 1883 in a Jewish family.

Following his studies of art history and literature in Vienna and Graz, he worked as an assistant at the Department of Art History of the University of Vienna. His specialization was the Biedermeier period, which led naturally to his interest in Schubert, whose life took place during this cultural era. His scholarly career was interrupted by World War I when he served in the Austrian Army. Following the war Deutsch worked for a time as a bookseller. He also shifted his scholarly interests to historical musicology, eventually becoming music librarian, working in the archives of Anthony van Hoboken. In 1938, when Austria was taken over by Nazi Germany in the Anschluss, Deutsch decided to flee the country, as he was a Protestant of Jewish origin. He lived in Cambridge, England, from 1939 to 1951, returning to Vienna after the war.

Deutsch was a close friend of music theorist Heinrich Schenker, and of the British musicologist and Schubert scholar Maurice J. E. Brown.

Deutsch died in Baden bei Wien on 23 November 1967 at the age of 84. He is interred in an honorary grave of the Vienna Central Cemetery (group 40, no. 12).

Scholarship
According to David Wyn Jones, Deutsch's work was based on "an abiding belief that historical documents and iconographic evidence constituted the essential ingredients of biographical exposition." Hence, Deutsch composed "documentary biographies" of Schubert, Mozart and Handel; in them, the texts of the old documents are placed in chronological order, strung together with narration and commentary by Deutsch. In these biographies, Deutsch lets the documents speak for themselves, with his supplementary remarks providing clarifications, corrections, and context.

Deutsch also prepared conventional scholarly articles on these composers as well as on Joseph Haydn. He also edited and published musical texts, in particular Haydn's output of canons.

He was awarded the Austrian Cross of Honour for Science and Art, 1st class in 1959.

Works

 * (English translation of Deutsch's German original. Eric Blom provided many translations for this work)
 * (English translation of Deutsch's German original. Eric Blom provided many translations for this work)

Films

 * D 795 oder Die schöne Müllerin. Otto Erich Deutsch – Ein Leben für die Musik, film by Claus Spahn, ARD 1983, 60 min.

title: Otto Erich Deutsch


text:
A Boy Named Goo

A Boy Named Goo is the fifth studio album by American rock band Goo Goo Dolls, released in 1995 on Warner Bros. The album was a commercial success, and was certified double-platinum by the RIAA within a year of its release. This is the last Goo Goo Dolls album with George Tutuska on drums; he was replaced by Mike Malinin just before the album was released.

History
This album is the Goo Goo Dolls' first studio album to not have 14 tracks. The song "Stand Alone" was written by George Tutuska, and because John Rzeznik didn't want to exploit George's efforts after his dismissal, the song was only included on a promo version of the album. On the wide-release version, it is replaced with "Disconnected" and "Slave Girl", which were initially B-sides to the "Only One" single. On the same promo, "Ain't That Unusual" was labeled as "Someday". The two replacement songs are covers of songs by defunct Buffalo and Sydney punk bands The Enemies and Lime Spiders.

The song "Name" is well known as the Goo Goo Dolls' first hit. According to lead singer John Rzeznik, the song's unusual composition came about "quite accidentally".

This album also marked the band's last with the Metal Blade Records imprint.

Walmart controversy
On June 5, 1996, the band's label, Warner Bros., released a statement claiming that Walmart had decided to stop selling A Boy Named Goo because some Walmart customers had complained that the album cover was offensive. The statement claimed that some customers had incorrectly thought that the child on the cover was smeared in blood rather than blackberry juice. Walmart acknowledged that they had decided to stop selling the album, but denied Warner Bros.'s claim that this was because of complaints about the cover art, instead ascribing the decision to weak sales. Of the reports that Walmart customers had thought that the child on the cover was smeared in blood, Rzeznik said, "The name of the album is A Boy Named Goo. The picture is of a boy covered with goo. What part of this concept are they unclear on?"

Track listing
All songs written by John Rzeznik, except where noted.

Advanced copy track listing
The track listing for advance copies—before George Tutuska was fired from the band—was slightly different. Neither of the covers were present, and another original song written solely by Tutuska, "Stand Alone", was featured.

Covers and media appearances
Metalcore band Haste the Day covered the song "Long Way Down" for their album When Everything Falls. "Ain't That Unusual" was featured on the soundtrack of the 1995 film Angus. A remix of the song "Long Way Down" was featured on the soundtrack of the 1996 film Twister.

Personnel
Goo Goo Dolls
 * John Rzeznik – lead and backing vocals, lead and rhythm guitar,
 * Robby Takac – bass, backing vocals, lead vocals on tracks 2, 5, 8, 10, and 12
 * George Tutuska – drums

Additional personnel
 * Lou Giordano – production

title: A Boy Named Goo


text:
Talk:William Rosecrans

Birthplace
Anyone know what is up with this guy's birthplace? The first page of Google hits gives Delaware City, Kingston, and Little Taylor Run, Ohio. - Hephaestos 02:18, 24 Nov 2003 (UTC)

 * Well, according to Mapquest, Little Taylor Run isn't a true city (probably a tiny village). However, Delaware City & Kingston are kinda... far away from each other... civilwarhome.com says Delaware City, and that's my most reliable site. However, I don't know... I'll just leave it as it is then. ugen64 01:01, Nov 25, 2003 (UTC)

 * It's possible also that Little Taylor Run isn't a populated area now, but was then. Kind of hard to say at this point, but I'm sure we'll get it exact eventually. - Hephaestos 01:04, 25 Nov 2003 (UTC)

 * Yeah. That would make sense. ugen64 03:39, Nov 25, 2003 (UTC)

 * General William S. Rosecrans was born in Delaware County, Kingston Township, Ohio. The farm on which he was born is located approximately four miles northwest of Sunbury, Ohio.  There is a very nice stone monument erected on the site which is located on Rosecrans Road, approximately a quarter mile east of the intersection of Rosecrans Road and Carter's Corner Road.  Little Taylor Run is a small stream that crosses the site.

Ancestry
Rosecrans sounds like a German name. Has anybody data about his ancestry?

 * Added info on his parents. Feel free to expand. Hal Jespersen 17:26, 16 August 2007 (UTC)

William's mother was Jemima, not Jane, and she was _not_ descended from Stephen Hopkins per http://wc.rootsweb.ancestry.com/cgi-bin/igm.cgi?op=Search&surname=hopkins&father=hopkins&spouse=crandall+rose* Ron Bauerle [rdbauerle@juno.com] 2-October-2009 —Preceding unsigned comment added by 173.69.111.236 (talk) 16:50, 3 October 2009 (UTC)

 * Fixed. Thanks for pointing this out. Hal Jespersen (talk) 19:48, 3 October 2009 (UTC)

The location of the monument is correct. The name was Dutch, not German.

As one of his living relatives from Delaware, County, Ohio I have to say that we are very proud of him.

The small rural county sent more than 2500 volunteers to the war. He was the highest ranking.

But we still don't understand the conversion from Methodism to Catholicism and from the Whigs to Democrats. —Preceding unsigned comment added by 65.24.29.59 (talk) 04:34, 13 May 2010 (UTC)

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Proposed Deletion From Article Header
The article's introduction contains this sentence:

'''He was briefly considered as a vice presidential running mate for Abraham Lincoln in 1864 but the telegram correspondence Rosecrans sent back to Washington that stated his interest, was intercepted by Stanton, who buried the message. As a result, Lincoln never received his response and began looking for other candidates.'''

This is contradicted somewhat later:

'''During the 1864 Republican National Convention, his former chief of staff, James Garfield, head of the Ohio delegation, telegraphed Rosecrans to ask if he would consider running to be Abraham Lincoln's vice president. The Republicans that year were seeking a War Democrat to run with Lincoln under the temporary name of "National Union Party." Rosecrans replied in a cryptically positive manner, but Garfield never received the return telegram. Friends of Rosecrans speculated that Edwin M. Stanton, Secretary of War, intercepted and suppressed it.'''

Since this is only speculation, not fact, I suggest that the sentence in the introduction that claims this as fact be deleted.TH1980 (talk) 03:38, 13 December 2020 (UTC)
 * Since no objections have been raised, I have deleted the sentence in question.TH1980 (talk) 03:32, 20 December 2020 (UTC)

title: Talk:William Rosecrans


text:
Orographic lift

Orographic lift occurs when an air mass is forced from a low elevation to a higher elevation as it moves over rising terrain. As the air mass gains altitude it quickly cools down adiabatically, which can raise the relative humidity to 100% and create clouds and, under the right conditions, precipitation.

Orographic lifting can have a number of effects, including precipitation, rain shadowing, leeward winds, and associated clouds.

Precipitation
Precipitation induced by orographic lift occurs in many places throughout the world. Examples include:
 * The Mogollon Rim in central Arizona
 * The western slope of the Sierra Nevada range in California.
 * The western slope of the Wasatch Range in Utah. Specifically the Little and Big Cottonwood Canyons.
 * The mountains near Baja California North – specifically La Bocana to Laguna Hanson.
 * The windward slopes of Khasi and Jayantia Hills (see Mawsynram) in the state of Meghalaya in India.
 * The Western Highlands of Yemen, which receive by far the most rain in Arabia.
 * The Western Ghats that run along India's western coast.
 * The northern slopes of the Pontides leading to the Black Sea, in Bulgaria, Turkey and Georgia.
 * The Great Dividing Range of Eastern and South Eastern Australia which forces cold, moist westerlies up the inland slopes, originating from the Southern Ocean.
 * The mountains of New Zealand, which face a prevailing westerly flow off the Tasman Sea.
 * The mountains of western Tasmania which also face a prevailing westerly flow.
 * The southern Andes, which face a prevailing westerly flow off the Pacific Ocean.
 * The mountains of the Chocó Department in Colombia, which face a prevailing westerly flow off the Pacific Ocean and are one of the wettest places on Earth.
 * The western uplands of Great Britain, including the Grampian mountains, Lake District, Snowdonia, Brecon Beacons and Dartmoor which face a prevailing westerly flow off the Atlantic Ocean.
 * The Northwestern United States and Canada (Oregon, Washington, British Columbia, and Southern Alaska) see prevailing westerly flow off the northern Pacific Ocean. Places on the sea-facing side of coastal mountains see in excess of 140 inches (over 3.5 m) of precipitation per year. These locales are on the side of the mountains which are in the path of storm systems, and therefore receive the moisture which is effectively squeezed from the clouds.
 * The Northwestern United States and Canada (Oregon, Washington, British Columbia, and Southern Alaska) see prevailing westerly flow off the northern Pacific Ocean. Places on the sea-facing side of coastal mountains see in excess of 140 inches (over 3.5 m) of precipitation per year. These locales are on the side of the mountains which are in the path of storm systems, and therefore receive the moisture which is effectively squeezed from the clouds.

 * The ski country region of New York and Pennsylvania, particularly with lake effect snows.
 * Transylvania County, North Carolina, which gets the most rainfall of anywhere in the Eastern U.S. (90 in).
 * The Appalachian Mountains in West Virginia (particularly the western facing slopes).
 * The Eastern seaboard of Madagascar.
 * Table Mountain, Cape Town, South Africa. The cold Atlantic air mass flows up over the north western face to 3500 ft above sea level and is met by the warm Indian Ocean air mass from the south eastern back side of the mountain forming the famous "Table Cloth".
 * Oppland mountain area, Norway.
 * In Colorado west of Denver maximum snowfall is recorded at relatively low elevations, around Idaho Springs, Genesee, Evergreen, and even as low as Golden and Castle Rock.

Rain shadowing
The highest precipitation amounts are found slightly upwind from the prevailing winds at the crests of mountain ranges, where they relieve and therefore the upward lifting is greatest. As the air descends the lee side of the mountain, it warms and dries, creating a rain shadow. On the lee side of the mountains, sometimes as little as 15 miles (25 km) away from high precipitation zones, annual precipitation can be as low as 8 inches (200 mm) per year.

Areas where this effect is observed include:
 * The Himalayas block moisture from the Tibetan Plateau
 * The Atacama Desert in Peru and Chile
 * Switzerland's Rhone valley
 * Areas east of the Cascade Range in the Pacific Northwest (Washington and Oregon)
 * Areas east of the Olympic Mountains in Washington state, (i.e. Sequim, Washington)
 * The Great Basin of the United States, east of the Sierra Nevada
 * Geography of the United States Pacific Mountain System
 * Pacific Cordillera
 * California's Central Valley
 * The Canadian Prairies
 * The leeward sides of the Hawaiian Islands. The entire island of Kaho'olawe is in the rain shadow of Maui
 * North East England is in the eastern rain shadow of the Pennines, due to Britain's prevailing wind coming from the South West. This explains the significant differences between the rainfall between North West and North East England. This impact also occurs to varying degrees to the east of the Grampian Mountains, in Herefordshire and along the England Wales borders and in Devon to the east of Dartmoor.
 * The Central Coast, Cumberland Plain, Illawarra, Monaro and the South Coast regions in Southeastern Australia in New South Wales; as snow-bearing westerlies arriving from the southwest (the Great Australian Bight) and up the ranges are forced upwind the inland slopes of the Great Dividing Range, the coastal plain remains dry and is significantly warmer than on the inland slopes at equivalent altitudes. This is evident when comparing Batlow on the windward slopes to Cooma on the leeward coastal plain, both around 800 m. Conversely, if the polar front or rain event arrives from the south-east (the Tasman Sea), then the coastal plain will be on the windward side and the inland slopes are on the leeward side.
 * The Judean Desert in the Land of Israel and the Dead Sea.
 * The Southern Alps of New Zealand

Leeward winds
Downslope winds occur on the leeward side of mountain barriers when a stable air mass is carried over the mountain by strong winds that increase in strength with height. Moisture is removed and latent heat released as the air mass is orographically lifted. As the air mass descends, it is compression heated. The warm foehn wind, locally known as the Chinook wind, Bergwind or Diablo wind or Nor'wester depending on the region, provide examples of this type of wind, and are driven in part by latent heat released by orographic-lifting-induced precipitation.

A similar class of winds, the Sirocco, the Bora and Santa Ana winds, are examples where orographic lifting has limited effect since there is limited moisture to remove in the Saharan or other air masses; the Sirocco, Bora and Santa Ana are driven primarily by (adiabatic) compression heating.

Associated clouds
As air flows over mountain barriers, orographic lift can create a variety of cloud effects.
 * Orographic fog is formed as the air rises up the slope and will often envelope the summit. When the air is humid, some of the moisture will fall on the windward slope and on the summit of the mountain.
 * When wind is strong, a banner cloud is formed downwind of the upper slopes of isolated, steep-sided mountains. It is created by the low pressure areas in the downwind vortices drawing in relatively humid air from the lower slopes of the mountain. This reduction in pressure compared to the surrounding air increases condensation, in the same manner as an aircraft's wingtip vortices. The most famous such cloud forms routinely in the lee of the Matterhorn.

 * The leeward edge of an extensive mass of orographic clouds may be quite distinct. On the leeward side of the mountain, the air flowing downward is known as a foehn wind. Because some of the moisture that has condensed on the top of the mountain has precipitated, the foehn (or föhn) is drier, and the lower moisture content causes the descending air mass to warm up more than it had cooled down during ascent. The distinct cut-off line which forms along and parallel to the ridge line is sometimes known as a foehn wall (or föhn wall). This is because the edge appears stationary and it often appears to have an abrupt wall-like edge.  A foehn wall is a common feature along the Front Range of the Colorado Rockies.
 * A rotor cloud is sometimes formed downwind and below the level of the ridge. It has the appearance of the ragged cumulus cloud type but it is caused by a turbulent horizontal vortex, i.e. the air is very rough.
 * Lenticular clouds are stationary lens-shaped clouds that are formed downwind of mountains by lee waves if the air mass is close to the dew point. They are normally aligned at right-angles to the wind direction and are formed at altitudes up to 12000 m.
 * A cap cloud is a special form of the lenticular cloud with a base low enough that it forms around and covers the peak, capping it.
 * A chinook arch cloud is an extensive wave cloud. It has this special name in North America where it is associated with the Chinook wind. It forms above the mountain range, usually at the beginning of a chinook wind as a result of orographic lifting over the range. It appears when seen from downwind to form an arch over the mountain range. A layer of clear air separates it from the mountain.

title: Orographic lift