text:
The Grand Duke; or, The Statutory Duel, is the final Savoy Opera written by librettist W. S. Gilbert and composer Arthur Sullivan, their fourteenth and last opera together.  It premiered at the Savoy Theatre on 7 March 1896, and ran for 123 performances.  Despite a successful opening night, the production had a relatively short run and was the partnership's only financial failure, and the two men never worked together again.  In recent decades, the opera has been revived professionally, first in the US and then in the UK.

In The Grand Duke, Gilbert and Sullivan come full circle, back to the theme of their first collaboration, Thespis: a troupe of actors taking political power.  The plot hinges on the mis-interpretation of a 100-year-old law regarding statutory duels (decided by drawing cards).  The baffled leading man of the troupe, Ludwig, spearheads the rebellion against the hypochondriac, miserly Grand Duke and becomes engaged to four different women before the plot is resolved.  The frugality and phoniness of the wealthy classes and the nobility is lampooned and, as in Princess Ida, The Mikado, The Gondoliers, and Utopia, Limited, the foreign setting emboldens Gilbert to use some particularly pointed satire.  Sullivan's varied score includes lilting Viennese waltz music.

Background
During the production of Gilbert and Sullivan's 1889 comic opera, The Gondoliers, Gilbert became embroiled in a legal dispute with producer Richard D'Oyly Carte over the cost of a new carpet for the Savoy Theatre and, more generally, over the accounting for expenses of the Gilbert and Sullivan partnership. Sullivan sided with Carte (who was about to produce Sullivan's grand opera, Ivanhoe), and the partnership disbanded.  After The Gondoliers closed in 1891, Gilbert withdrew the performance rights to his libretti and vowed to write no more operas for the Savoy. The lawsuit left Gilbert and Sullivan somewhat embittered, and though they finally collaborated on two more works, these suffered from a less collegial working relationship than the two men had typically enjoyed while writing earlier operas.

Gilbert and Sullivan's penultimate opera, Utopia, Limited (1893), was a very modest success compared with their earlier collaborations.  It introduced Gilbert's last protégée, Nancy McIntosh, as the heroine, who received generally unfavourable press. Sullivan refused to write another piece if she was to take part in it. Discussions over her playing the role of Yum-Yum in a proposed revival of The Mikado led to another row between Gilbert and Sullivan that prevented the revival, and Gilbert's insistence upon her appearing in his 1894 opera, His Excellency, caused Sullivan to refuse to set the piece. After His Excellency closed in April 1895, McIntosh wrote to Sullivan informing him that she planned to return to concert singing, and so the obstacle to his further collaboration with Gilbert was removed. Meanwhile, Sullivan had written a comic opera for the Savoy Theatre with F. C. Burnand, The Chieftain, but that had closed in March 1895.

Genesis

Gilbert had begun working on the story of The Grand Duke in late 1894. Elements of the plot were based on several antecedents including "The Duke's Dilemma" (1853), a short story by Tom Taylor, published in Blackwood's Magazine, about a poor duke who hires French actors to play courtiers to impress his rich fiancée.  The story also contains the germ of the character of Ernest. In 1888, "The Duke's Dilemma" was adapted as The Prima Donna, a comic opera by H. B. Farnie that contains other details seen in The Grand Duke, including the Shakespearean costumes, a prince and princess who make a theatrical entrance. In addition, the plot shows similarities with the first Gilbert and Sullivan opera, Thespis, in which a company of actors gain political power. Gilbert read a sketch of the plot to Sullivan on 8 August 1895, and Sullivan wrote on 11 August to say that he would be pleased to write the music, calling Gilbert's plot sketch "as clear and bright as possible". The theme of Ernest (and then Rudolph) being legally dead while still physically alive was used in earlier works by Gilbert and, separately by Sullivan, for example Tom Cobb (1875) and Cox and Box (1867). Gilbert sold the libretto of the new piece to Carte and Sullivan for £5,000, and so he took no risk as to whether or not it would succeed.

Mr. and Mrs. Carte hired a new soprano, the Hungarian Ilka Pálmay, who had recently arrived in England and quickly made a favourable impression on London audiences and critics with her charming personality. Gilbert devised a new plot line revolving around Pálmay, making her character, Julia, an English actress among a company of German actors, with the topsy-turvy conceit that her "strong English accent" was forgiven by her audiences because of her great dramatic artistry.  Rutland Barrington's role, Ludwig, became the leading comedian of the theatrical company and the central role in the opera. Gilbert had paired the title character with contralto Rosina Brandram, causing Sullivan to suggest some different pairings of the characters, but Gilbert and the Cartes disagreed; Mrs. Carte went so far as to caution Sullivan that his ideas would upset the casting. Unhappily for Gilbert, three of his usual principal players, George Grossmith, Richard Temple and Jessie Bond, who he had originally thought would play the title character, the prince and the princess, all left the company before rehearsals began for The Grand Duke, and so he reduced the size of these roles, further changing his original conception.

While Gilbert and Sullivan finished writing the show, the Cartes produced a revival of The Mikado at the Savoy Theatre, opening on 6 November 1895.  Rehearsals for The Grand Duke began in January. Sullivan wrote the overture himself, effectively weaving together some of the best melodies in the opera. Gilbert made a few additional changes to the libretto shortly before opening night to avoid giving offense to Kaiser Wilhelm, possibly at the request of Sullivan, who valued the Kaiser's friendship.  These included changing the name of the title character from Wilhelm to Rudolph.

Original production and reception

The opera premiered on 7 March 1896, and Sullivan conducted the orchestra, as he always did on opening nights. Costumes were by Percy Anderson. The opening night was a decided success, and the critics praised Gilbert's direction, Pálmay's singing and acting, Walter Passmore as Rudolph, and the cast in general. There were some reservations, however.  The Times'''s review of the opening night's performance said:

The reviewer stated that the jokes might be funnier if the dialogue between them were "compressed".  The Manchester Guardian concurred: "Mr. Gilbert's tendency to over-elaboration has nowhere shown itself so obtrusively....  Mr. Gilbert has introduced too many whimsical ideas which practically bear no relation to the story proper". Although the audience greeted the new piece enthusiastically,"The New Savoy Opera", The Manchester Guardian, 9 March 1896 neither partner was satisfied.  Sullivan wrote in his diary, "Parts of it dragged a little – dialogue too redundant but success great and genuine I think....  Thank God opera is finished & out." Gilbert wrote to his friend, Mrs. Bram Stoker: "I'm not at all a proud Mother, and I never want to see this ugly misshapen little brat again."

After the opening night, Sullivan left to recuperate in Monte Carlo.  Gilbert reacted to the reviews by making cuts in the opera.  These included three songs in Act II, and commentators have questioned the wisdom of these particular cuts, especially the Baroness's drinking song and the Prince's roulette song.  The Grand Duke closed after 123 performances on 11 July 1896, Gilbert and Sullivan's only financial failure.  It toured the British provinces for a year and was produced in Germany on 20 May 1896 at the Unter den Linden Theatre in Berlin and on a D'Oyly Carte tour of South Africa the same year.  After this, it disappeared from the professional repertory, although Gilbert considered reviving it in 1909.

Analysis and subsequent historyThe Grand Duke is longer than most of the earlier Gilbert and Sullivan operas, and more of the libretto is devoted to dialogue.  Gilbert's cutting of parts of the opera after the opening night did not prevent it from having a shorter run than any of the earlier collaborations since Trial by Jury.  In addition to whatever weaknesses the show had, as compared with earlier Gilbert and Sullivan pieces, the taste of the London theatregoing public had shifted away from comic opera to musical comedies, such as A Gaiety Girl (1893), The Shop Girl (1894) and An Artist's Model (1895), which were to dominate the London stage through World War I. One of the most successful musical comedies of the 1890s, The Geisha (1896), competed directly against The Grand Duke and was by far the greater success.Gänzl, Kurt. The British Musical Theatre: Volume I, 1865–1914, New York: Oxford University Press, 1986, p. 619

After its original production, The Grand Duke was not revived by the D'Oyly Carte Opera Company until 1975 (and then only in concert), and performances by other companies have been less frequent than most of the other Gilbert and Sullivan operas.  20th century critics dismissed the work. For example, H. M. Walbrook wrote in 1921, "It reads like the work of a tired man. ...  There is his manner but not his wit, his lyrical fluency but not his charm. ...  [For] the most part, the lyrics were uninspiring and the melodies uninspired." Of Gilbert's work in the opera, Isaac Goldberg opined, "the old self-censorship has relaxed", and of Sullivan's he concludes, "his grip upon the text was relaxing; he pays less attention to the words, setting them with less regard than formerly to their natural rhythms".

In the first half of the 20th century, The Grand Duke was produced occasionally by amateur companies, including the Savoy Company in Philadelphia and the Blue Hill Troupe in New York City, who pride themselves on producing all of the Gilbert and Sullivan operas. In America, it was mounted by professional companies, including the American Savoyards, beginning in 1959, and the Light Opera of Manhattan in the 1970s and 1980s.  The BBC assembled a cast to broadcast the opera (together with the rest of the Gilbert and Sullivan series) in 1966 (led by former D'Oyly Carte comic Peter Pratt) and again in 1989.  Of a 1962 production by The Lyric Theater Company of Washington, D.C., The Washington Post wrote, "the difficulties were worth surmounting, for the work is a delight. ...  Throughout the work are echoes of their earlier and more successful collaborations, but Pfennig Halbpfennig retains a flavor all its own."

Since the D'Oyly Carte Opera Company released its recording of the piece in 1976, The Grand Duke has been produced more frequently.Stedman, p. 309 The New York Gilbert and Sullivan Players produced a concert version in 1995 and a full production in 2011. Writer Marc Shepherd concluded that the work "is full of bright comic situations and Gilbert's characteristic topsy-turvy wit. Sullivan's contribution has been considered first-rate from the beginning. The opera shows him branching out into a more harmonically adventurous Continental operetta style." The first fully staged professional revival in the UK took place in 2012 at the Finborough Theatre in London, starring Richard Suart in the title role, with a reduced cast and two-piano accompaniment."Gilbert and Sullivan's The Grand Duke", FinboroughTheatre, accessed 28 February 2012 The Gilbert and Sullivan Opera Company presented a full-scale professional production with orchestra at the International Gilbert and Sullivan Festival later in 2012."Events, Festivals & Projects", Sir Arthur Sullivan Society, accessed 2 November 2011

Roles and casting

The original and 1975 principal cast were as follows:

SynopsisThe Grand Duke is set in the Grand Duchy of Pfennig-Halbpfennig in 1750.

Act I
In the market square in the capital city, Speisesaal, Ernest Dummkopf's theatrical company is ready to open their production of Troilus and Cressida that night. They also prepare to celebrate the wedding of the troupe's leading comedian, Ludwig, to Lisa, a soubrette of the company. The marriage cannot take place, however, as there are no parsons available in the city: all clerics have been summoned to the palace by the Grand Duke of Pfennig-Halbpfennig to discuss his own forthcoming marriage. Everyone has grown to resent the Grand Duke, and all of the company had already become members of a plot to blow him up with dynamite and place a new man on the throne. The secret sign by which members of the conspiracy recognise each other is to eat a sausage roll – a food of which they are by now all heartily sick.

It is clear that Ernest will win the election which is to follow the coup and become Grand Duke, which troubles Julia Jellicoe, a famous English comedian. As leading lady of the company, she is bound by contract to play the leading female role in any production. If Ernest, the manager, becomes the Grand Duke, she reasons that she will have to be the Grand Duchess. She says that this is a repugnant prospect to her (though it is a delightful one to Ernest), but that she will play the part in a professional manner.Note: Gilbert supplied a topsy-turvy twist by writing Julia's dialogue in a German accent, since she is the only English character in Ernest's company; all of the Germans speak with an English accent. The first Julia, Ilka Pálmay, was Hungarian but performed mostly in German. Modern productions do not always carry out this idea. For instance, in the 1976 D'Oyly Carte recording (which did not include the dialogue), the singer playing Julia did not affect a German accent.

Meanwhile, Ludwig has met a man who returned his secret salute by eating three sausage rolls. Ludwig believed him to be a member of the conspiracy and told him all the details; only then did he realise that he had revealed the entire plot to the Grand Duke's private detective.  The company are aghast, believing they are doomed once the Grand Duke learns of the plot. The company's notary, Dr. Tannhäuser, appears and offers a solution. He explains that a century ago the Grand Duke of the time, concerned about the loss of life in duelling, had created the statutory duel: the duellers draw cards, and the one who draws the lower card loses. He becomes legally dead, and the winner takes over his position: his property, responsibilities and debts. The law regulating statutory duels, like all laws of Pfennig-Halbpfennig, lasts for one hundred years unless revived, and it is to lapse tomorrow.

Tannhäuser counsels Ernest and Ludwig to fight a statutory duel immediately: the loser will be legally dead, and the survivor can go to the Duke and confess the whole plot. As informer he will be spared, while the other party will be dead and so beyond retribution. The next day, the loser will come to life when the law lapses, but since death expunges crime, his character will be unstained. Ernest and Ludwig promptly "fight" a statutory duel: Ernest draws a king, but Ludwig draws an ace and is declared the winner.

They leave, and the miserly yet pompous and moralistic Grand Duke Rudolph appears, heralded by his corps of chamberlains. He instructs them in the arrangements for his wedding the next day to the rich, but also miserly, Baroness Caroline von Krakenfeldt. She arrives, handing him a letter from his detective, and they sing about how exactly in agreement are their ideas on economy. Caroline is disconcerted that Rudolph insists on courting her in the market square, but he explains that he has made a law compelling couples to do all courting in the square so as to increase the value of his properties around the square. She approves of this example of economy.

Caroline is also upset by a newspaper article which says that Rudolph was betrothed in infancy to the Princess of Monte Carlo, but he explains that the engagement is "practically off." The betrothal lapses when the Princess reaches the age of twenty-one, which will happen tomorrow, and her father, the Prince, dares not venture out of his house for fear of being arrested by his creditors.

Once he is alone, Rudolph reads the letter and learns about the plot to blow him up. Ludwig arrives, intent on denouncing the plot to him. Before he can do so, Rudolph declares that he would give anything to avoid being blown up the next day, and Ludwig sees a way out. He feigns patriotism and suggests that the two engage in a statutory duel. He explains that they will hide cards up their sleeves, guaranteeing victory to Ludwig. When the plot unfolds, Ludwig will bear the brunt of it. The next day, when the Act authorizing statutory duels expires, Rudolph can come back to life unharmed. Although Rudolph is sceptical, he accepts Ludwig's proposal.

Rudolph and Ludwig summon the city's inhabitants. They stage a mock quarrel and conduct the rigged statutory duel as planned: Rudolph's king is beaten by Ludwig's ace, making Ludwig the Grand Duke. Rudolph's subjects berate him with scorn, and he retreats, threatening revenge. Ludwig uses his new powers to extend the Act for another hundred years, thus ensuring that neither Rudolph nor Ernest can come back to life.

Julia Jellicoe appears and once again asserts that, as leading lady, she must take the leading role of the Grand Duchess. Lisa leaves in tears. Julia points out that if she and Ludwig are to rule over a Grand Ducal court, they need to be dressed more impressively than their everyday clothes will allow. Ludwig recalls that they have a complete set of brand-new costumes for Troilus and Cressida, which they can use to "upraise the dead old days of Athens in her glory."

Act II

In a room in the Ducal palace, the new Grand Duke, Grand Duchess and court parade in classical costumes and sing a Grecian chorus. Left alone, Ludwig and Julia fail to agree on how her role is to be played. Caroline von Krakenfeldt arrives for her wedding and is startled to find that Rudolph has been replaced by Ludwig. But once she discovers that Ludwig has beaten Rudolph in a statutory duel, she points out that he must take on Rudolph's responsibilities – including his betrothal to her. So despite being already married to Julia, Ludwig goes off with Caroline to get married, and Julia makes a dramatic exit.

Ernest, though legally dead, is desperate for news and arrives to try to find out what is going on. He sees the wedding procession in the distance and assumes that Ludwig is marrying Lisa; but it cannot be so, for Lisa appears. She sees him and runs away in fright, since he is a "ghost". He then supposes that Ludwig must be marrying his Julia, but she too appears. Though affecting to be also frightened, she stays and tells him what Ludwig has done.

They leave, and the wedding party returns. Caroline is enjoying the rare pleasure of drinking "when somebody else pays the bill." Yet another unexpected visitor arrives: it is a herald, who announces that the Prince and Princess of Monte Carlo are on their way. Ludwig decides to give the Prince a theatrical welcome, and tells the company to hide.

The Prince of Monte Carlo arrives with his daughter the Princess and a retinue of supernumeraries – out-of-work actors hired from the Theatre Monaco to play the part of nobles. He has reversed his fortunes by inventing a game called roulette, which has allowed him to pay his debts, hire the supernumeraries, and take his daughter to Pfennig-Halbpfennig just in time to marry the Grand Duke before the engagement expires.

Ludwig and the court spring out at them, dancing a lively can-can. The Princess is shocked and upset when she discovers that Ludwig already has three Grand Duchesses. She points out, however, that her claim predates the others', and Ludwig is therefore obliged to marry her.

Ludwig and the Princess are about to go off to yet another wedding party, when Ernest, Rudolph and Dr Tannhäuser burst in. The Notary reveals that the Act regulating statutory duels specifically states that the ace shall count as lowest, so Ludwig did not win, was never Grand Duke, and cannot have revived the act. Within seconds, the Act expires, returning Ludwig and Ernest to the living. Three couples marry: Rudolph and the Princess; Ernest and Julia; and Ludwig and Lisa.

Musical numbers
Overture (Includes parts of "The good Grand Duke", "My Lord Grand Duke, farewell!", "With fury indescribable I burn", "Well, you're a pretty kind of fellow", "Strange the views some people hold")

Act I
1. "Won't it be a pretty wedding?" (Chorus)
1a. "Pretty Lisa, fair and tasty" (Lisa and Ludwig with Chorus)
2. "By the mystic regulation" (Ludwig with Chorus)
3. "Were I a king in very truth" (Ernest with Chorus)
4. "How would I play this part" (Julia and Ernest)
5. "My goodness me!  What shall I do?", "Ten minutes since I met a chap" (Ludwig and Chorus)
6. "About a century since" (Notary)
7. "Strange the views some people hold" (Julia, Lisa, Ernest, Notary, and Ludwig)

8. "Now take a card and gaily sing" (Julia, Lisa, Ernest, Notary, and Ludwig)
9. "The good Grand Duke" (Chorus of Chamberlains)
9a. "A pattern to professors of monarchical autonomy" (Grand Duke)
10. "As o'er our penny roll we sing" (Baroness and Grand Duke)
11. "When you find you're a broken-down critter" (Grand Duke)
12. Finale, Act I
 "Come hither, all you people" (Ensemble)
 "Oh, a monarch who boasts intellectual graces" (Ludwig with Chorus)
 "Ah, pity me, my comrades true" (Julia with Chorus)
 "Oh, listen to me, dear" (Julia and Lisa with Chorus)
 "The die is cast" (Lisa with Chorus)
 "For this will be a jolly Court" (Ludwig and Chorus)

Act II
13. "As before you we defile" (Chorus)
14. "Your loyalty our Ducal heart-string touches" (Ludwig with Chorus)
14a. "At the outset I may mention" (Ludwig with Chorus)
15. "Yes, Ludwig and his Julia are mated" (Ludwig)
15a. "Take care of him – he's much too good to live" (Lisa)

16. "Now Julia, come, consider it from" (Julia and Ludwig)
17. "Your Highness, there's a party at the door" (Chorus)
17a. "With fury indescribable I burn" (Baroness and Ludwig)
18. "Now away to the wedding we go" (Baroness and Chorus)
19. "So ends my dream", "Broken ev'ry promise plighted" (Julia)
20. "If the light of love's lingering ember" (Julia, Ernest, and Chorus)
21. "Come, bumpers – aye, ever-so-many" (Baroness with Chorus)
22. "Why, who is this approaching?" (Ludwig and Chorus)
23. "The Prince of Monte Carlo" (Herald and Chorus)
24. "His highness we know not" (Ludwig)
25. "We're rigged out in magnificent array" (Prince of Monte Carlo)
26. Dance
27. "Take my advice – when deep in debt" (Prince of Monte Carlo with Chorus)
28. "Hurrah! Now away to the wedding" (Ensemble)
28a. "Well, you're a pretty kind of fellow" (Grand Duke with Chorus)
29. "Happy couples, lightly treading" (Ensemble)

Versions of the text
The published vocal score for The Grand Duke was available within days of opening night, and it included all of the music performed at the premiere. Shortly thereafter, there were a number of substantial cuts, which were reflected in the published libretto. It is uncertain whether Sullivan (who was travelling abroad) agreed with these cuts, but the published vocal score was never revised.  The libretto and vocal score have thus remained in disagreement.

The cuts involving the music included:
 One verse of No. 10, "As o'er our penny roll we sing"
 Several passages in the Act I finale
 No. 21, "Come bumpers – aye, ever-so-many"
 No. 27, "Take my advice – when deep in debt"
 No. 28a, "Well you're a pretty kind of fellow"

There is no standard performing version of The Grand Duke.  While most companies that have produced The Grand Duke agree that the first-night version is too long, there is no established tradition about which cuts to make, if any, and most productions have made cuts in the dialogue and often dropped verses and/or attempted some reorganization or rewriting.

The 1976 D'Oyly Carte recording observed the original cuts in Act I, but restored the three deleted numbers from Act II.

Recordings
Until the D'Oyly Carte Opera Company recorded this opera in 1976, it was unfamiliar to most fans of Gilbert and Sullivan.  While the 1976 recording has been well-received, the 1973 recording by UMGASS, though an amateur recording, including dialogue, is admired. The BBC had broadcast the opera with an excellent cast and including dialogue in 1966, but they have never released the recording. The 2012 professional production at the International Gilbert and Sullivan Festival was recorded on video.

Selected recordings
1966 BBC (radio broadcast with dialogue) – The John McCarthy Singers, The BBC Concert Orchestra; Conductor: Stanford Robinson
1973 University of Michigan Gilbert and Sullivan Society (with dialogue) – Conductor: Eric Stern
1976 D'Oyly Carte – Royal Philharmonic Orchestra; Conductor: Royston Nash
1989 BBC (radio broadcast with dialogue) – Ambrosian Singers, The BBC Concert Orchestra; Conductor: Barry Wordsworth

Notes

References

  Also, five supplements, privately printed.
 Shepherd, Marc. "Introduction: Historical Context", The Grand Duke'' (piano score), New York: Oakapple Press, 2009

External links
The Grand Duke at The Gilbert & Sullivan Archive
Libretto
Vocal score at IMSLP
The Grand Duke at The Gilbert & Sullivan Discography
Biographies of the people listed in the cast lists
Audio recording of "When you find you're a broken-down critter" (piano accompaniment)

Operas by Gilbert and Sullivan
English-language operas
English comic operas
Operas
1896 operas
Operas set in fictional, mythological and folkloric settings

redpajama_set_name: RedPajamaWikipedia


text:
/* TEMPLATE GENERATED TESTCASE FILE
Filename: CWE253_Incorrect_Check_of_Function_Return_Value__wchar_t_rename_12.c
Label Definition File: CWE253_Incorrect_Check_of_Function_Return_Value.label.xml
Template File: point-flaw-12.tmpl.c
*/
/*
 * @description
 * CWE: 253 Incorrect Check of Return Value
 * Sinks: rename
 *    GoodSink: Correctly check if rename() failed
 *    BadSink : Incorrectlycheck if rename() failed
 * Flow Variant: 12 Control flow: if(globalReturnsTrueOrFalse())
 *
 * */

#include "std_testcase.h"

#ifndef _WIN32
#include <wchar.h>
#endif

#ifdef _WIN32
#define RENAME _wrename
#else
#define RENAME rename
#endif

#define OLD_BAD_FILE_NAME L"oldbadfilename.txt"
#define OLD_GOOD_FILE_NAME L"oldgoodfilename.txt"
#define NEW_BAD_FILE_NAME L"newbadfilename.txt"
#define NEW_GOOD_FILE_NAME L"newgoodfilename.txt"

#ifndef OMITBAD

void CWE253_Incorrect_Check_of_Function_Return_Value__wchar_t_rename_12_bad()
{
    if(globalReturnsTrueOrFalse())
    {
        /* FLAW: rename() might fail, in which case the return value will be non-zero, but
         * we are checking to see if the return value is 0 */
        if (RENAME(OLD_BAD_FILE_NAME, NEW_BAD_FILE_NAME) == 0)
        {
            printLine("rename failed!");
        }
    }
    else
    {
        /* FIX: check for the correct return value */
        if (RENAME(OLD_GOOD_FILE_NAME, NEW_GOOD_FILE_NAME) != 0)
        {
            printLine("rename failed!");
        }
    }
}

#endif /* OMITBAD */

#ifndef OMITGOOD

/* good1() uses the GoodSink on both sides of the "if" statement */
static void good1()
{
    if(globalReturnsTrueOrFalse())
    {
        /* FIX: check for the correct return value */
        if (RENAME(OLD_GOOD_FILE_NAME, NEW_GOOD_FILE_NAME) != 0)
        {
            printLine("rename failed!");
        }
    }
    else
    {
        /* FIX: check for the correct return value */
        if (RENAME(OLD_GOOD_FILE_NAME, NEW_GOOD_FILE_NAME) != 0)
        {
            printLine("rename failed!");
        }
    }
}

void CWE253_Incorrect_Check_of_Function_Return_Value__wchar_t_rename_12_good()
{
    good1();
}

#endif /* OMITGOOD */

/* Below is the main(). It is only used when building this testcase on
   its own for testing or for building a binary to use in testing binary
   analysis tools. It is not used when compiling all the testcases as one
   application, which is how source code analysis tools are tested. */

#ifdef INCLUDEMAIN

int main(int argc, char * argv[])
{
    /* seed randomness */
    srand( (unsigned)time(NULL) );
#ifndef OMITGOOD
    printLine("Calling good()...");
    CWE253_Incorrect_Check_of_Function_Return_Value__wchar_t_rename_12_good();
    printLine("Finished good()");
#endif /* OMITGOOD */
#ifndef OMITBAD
    printLine("Calling bad()...");
    CWE253_Incorrect_Check_of_Function_Return_Value__wchar_t_rename_12_bad();
    printLine("Finished bad()");
#endif /* OMITBAD */
    return 0;
}

#endif

redpajama_set_name: RedPajamaGithub


text:
Kalcijev karbonat (CaCO3) kalcijeva je sol ugljične kiseline i u prirodi najrašireniji spoj kalcija jer se pojavljuje kao kalcit u različitim oblicima vapnenaca, mramora i kreda. Bez obzira na različit vanjski izgled sve su ove tvari sastavljene od sitnih kristalića kalcita koji kristalizira u trigonskom sustavu. Kalcijev karbonat se javlja i u drugoj kristalnoj modifikaciji, aragonitu, koji kristalizira u rompskom sustavu. Na nekim mjestima (Island) nalazi se osobito čiste i prozirne primjerke kalcita. Takav kalcit naziva se dvolomac jer zraku svjetlosti rastavlja u dvije polarizirane zrake. Zbog toga se upotrebljava za izradu optičkih sprava, najviše Nicolovih prizmi.

Rasprostranjenost

U obliku vapnenca nalazi se u svim dijelovima svijeta, često u kilometarskim naslagama nastalim od ostataka morskih školjkaša i puževa. Nakon kremena (SiO2), drugi je mineral po rasprostranjenosti u Zemljinoj kori.

Pri standardnim uvjetima dolazi u obliku bijele krutine. Stijene su u glavnom sastojku od kalcijeva karbonata, pa prirodni uvjeti djeluju na stijene; more, vjetar, voda (led), sunce itd.

U prirodi se nalazi u dva kristalna oblika, kao mineral kalcit i aragonit. Kalcit kristalizira iz vruće otopine trigonskom sustavu, a aragonit iz hladne otopine u rompskom sustavu. Prema tome, o uvjetima kristalizacije ovisi koji će mineral nastati.
U oblicima stijena ili minerala može se još naći primjerice kao:

 Kreda
 Vapnenac
 Mramor
 Dolomit
 Travertin
 Vaterit

Kalcijev karbonat je gotovo netopljiv u čistoj vodi, ali se otapa polagano u prirodnoj vodi s otopljenim ugljikovim(IV) oksidom (CO2) i utječe na tvrdoću prirodne vode.
Kalcijev karbonat je termički nestabilniji od Na2CO3 i raspada se već pri 1000 °C bez prethodnog taljenja.

Velike količine primarnoga kalcijeva karbonata nastaju biokemijskim procesima i taloženjem iz morske vode unutar prostranih plićaka tropskih i suptropskih područja, kao što je primjerice područje današnjih Bahama. Stvrdnjavanjem (litifikacijom) tih taloga nastaju karbonatne stijene.
Karbonatne su stijene uglavnom izgrađene od kalcijeva karbonata (CaCO3), koji je osnovni sastojak vapnenca, te njegovih magnezijskih inačica koje nalazimo u dolomitu.
Kad se procesima taloženja i litifikacije pridodaju geološko vrijeme i prostor u koji se tako nastali karbonati mogu smjestiti, nastaju debele i prostrane "torte" karbonatnih stijena, koje nazivamo "karbonatne platforme". Unutar karbonatnih platformi pohranjene su ogromne količine kalcijeva karbonata.
Na prostorima nekadašnje jadransko-dinaridske karbonatne platforme tijekom većeg dijela mezozoika i starijeg kenozoika (razdoblje od gotovo 200 milijuna godina), a zbog sporog tonjenja Zemljine kore ispod razine mora, istaložila se nekoliko tisuća metara debela "torta" izgrađena od horizontalnih slojeva karbonatnih stijena. Te su naslage tijekom kenozoika deformirane i izdignute nekoliko tisuća metara iznad razine mora, i to zbog snažnih tektonskih pokreta. Istovremeno s izdizanjem, naslage su dijelom erodirale i otopile se.
Tako je nastao veći dio planinskog lanca koji nazivamo Dinaridi, ali i gotovo svi jadranski otoci te velik dio jadranskog podmorja.
Površinske pojave karbonatnih naslaga temelj su za nastavak krškog reljefa. Krš možete lako uočiti vozeći se cestom ili prugom od Karlovca prema jugu, gdje karbonatne stijene nalazimo na površini.
Karbonatni masivi Biokova su jako poznati, također i karbonatna struktura otoka Brača te karbonatni masivi omiške Dinare i Mosora.

Putujući kroz hrvatska krška područja, odgovor o važnosti kalcijeva karbonata u građi Zemlje je jasna, u kolikim se milijardama tona kalcijeva karbonata radi samo na području Hrvatske. Karbonatnih planinskih masiva u svijetu ima nekoliko, od kojih su u velikoj mjeri izgrađene Alpe, Apenini, i drugi alpinski planinski lanci, sve do Himalaje. Na površinskim pojavama karbonatnih naslaga treba pridodati još obilnije količine u podzemlju.

Kemijska svojstva
Kalcijev karbonat je netopljiv u čistoj vodi, ali se polako otapa u vodi koja sadrži ugljikov(IV) oksid:

CaCO3 + CO2 + H2O ↔ Ca(HCO3)2

Na osnovi te reakcije javlja se tvrdoća kod gotovo svih prirodnih voda. Moć otapanja vode koja sadrži CO2 objašnjava postojanje velikog broja spilja i ponora u području vapnenca. Te spilje i ponori osobito su brojni u starijim formacijama, a nastali su djelomično otapanjem, a djelomično ponovnim taloženjem CaCO3. Za taloženje kalcijeva karbonata najpovoljniji su uvjeti vrlo sporo nadolaženje vode i jednoliko isparavanje bez strujanja zraka. U vapnenačkim spiljama ti se uvjeti idealno zadovoljavaju. Prirodna voda koja sadrži Ca2+ i HCO3- ione polako prodire kroz neku pukotinu i drži se u obliku kapljice na stropu spilje. Kako voda isparava zajedno s ugljikovim dioksidom, prema gornjoj reverzibilnoj reakciji taloži se sićušna čestica vapnenca. Kasnije se druga kap vode uhvati na već istaloženu česticu i proces se ponavlja. S vremenom dugačka siga, od stropa prema dolje, gradi stalaktit od vapnenca. Povremeno kap vode može pasti sa stalaktita na pod spilje, gdje se istom reakcijom stvara stalagmit CaCO3. Cijeli proces otapanja i ponovnog taloženja vapnenca vrlo je spor i može trajati stotine godina.

Kalcijev karbonat se za potrebe građevinarstva zagrijava na oko 1000 °C, a na toj se temperauturi raspada na ugljikov dioksid i kalcijev oksid:

CaCO3 ↔ CO2 + CaO

Reakcija je reverzibilna, a položaj kemijske ravnoteže je za svaku temperaturu određen parcijalnim tlakom CO2. Međutim ako sustav nije zatvoren, tj. ako se CO2 uklanja iz ravnoteže, karbonat će potpuno prijeći u oksid jer se ne može postići dovoljan pritisak CO2 za uspostavljanje ravnoteže. Kalcijev oksid (živo vapno) dobiven tom reakcijom gasi se vodom i prelazi u gašeno vapno, tj. kalcijev hidroksid (Ca(OH)2) koji se koristi u smjesama u građevinstvu (žbuka). Osim za dobivanje kalcijeva oksida, kalcijev karbonat u građevinstvu služi kao građevni kamen.

Kalcijev karbonat reagira s većinom kiselina jer je karbonatna kiselina prilično slaba:

CaCO3 + 2HCl → CaCl2 + H2O + CO2

CaCO3 + H2SO4 → CaSO4 + H2O + CO2

CaCO3 + 2CH3COOH → Ca(CH3COO)2 + H2O + CO2

Kemijske reakcije
 CaCO3 → CaO + CO2
 Ca(OH)2 + CO2 → CaCO3 + H2O
 CaCO3 + CO2 + H2O → Ca(HCO3)2
 Ca(HCO3)2 → CaCO3 + CO2 + H2O

Upotreba

Upotrebljava se kao građevinski materijal i kao materijal za dobivanje živog vapna (CaO).

Zanimljivosti

Moderna istraživanja karbonatnih stijena nezamisliva su bez jedne od najmlađih geoloških disciplina – kemostratigrafije. Ponajviše se koriste metode određivanja pojedinih stabilnih izotopa elemenata ugrađenih u kalcijev karbonat iz karbonatnih stijena (izotopi kisika, ugljika, stroncija i dr.). Pomoću izotopa se može određivati temperatura i salinitet mora iz kojeg se karbonat istaložio, međusobno uspoređivati naslage karbonata istaložene na različitim mjestima na Zemlji ili pak detektirati klimatske promjene tijekom geoloških razdoblja.

Izvor

 Hrvatska enciklopedija (LZMK), Broj 5 (Hu-Km), str. 719. Za izdavača: Leksikografski zavod Miroslav Krleža, Zagreb 2003.g.

Spojevi kalcija


Good food at quite reasonable prices.
The food,here is not really very adventurous but offers a few good things. The squid starter was really good and plenty of it. Choice of snacks though is a bit limited which was disappointing. We also felt we were overcharged a couple of times with bottled wine but overall a good experience.
We came here day 1 of our Holiday and Eddie was our waiter/server. He was really attentive and gave great recommendations for the wine. I didn't feel we waited too long for food or drinks at all. The wasps were a bit of a nuisance but Eddie dealt with them too. Well priced and good quality food. We enjoyed our meal so much we decided to spend our last evening here too. We were super lucky to get Eddie again to look after us. This time we decided to sit closer to the bar where we could watch our daughter play. The Apple Martini's were among the best I have ever had. They even made a VIrgin Mocktail version for my daughter too, to her delight. Again Eddie's recommendation for food was spot on and the Mussels were delicious and the bar snacks appreciated. Thanks for a great time both times. A relaxed environment with great music choices.
We (family of 4 - 3 adults & 1 teenager) went to this beach everyday. Paying for our beds/umbrellas (double check your price - as we paid more than anticipated and others seemed to pay less?!). Tbh we liked it enough to decide that this was our base each day whether it was more pricey or not! It was wonderfully convenient for where we were staying. There are showers and cafe/bar service to the beach. There is a swimming pool behind the restaurant (towards the apartments - quieter than the beach and nice for a quick dip if fed up with the sea).
Had drinks daily on the beach or in the sofa areas. All lovely and good value. Early evening cocktails were fabulous!!
Had lunch a couple of times - really good, tiny bit pricier than some further along the beach - but it is more of a restaurant. Had one evening meal which was excellent - not so busy in the evening - had a variety of meals, enjoyed everything - mixture of starters, souvlakis, moussakka, squid, salads. The service was great and the staff were all friendly.
A really clean and tidy place with good food and selection of drinks at reasonable prices. Helpful and friendly staff. Verde Blu has restaurant, bar seating area and beach loungers so there is plenty room for all.
On a beach half day excursion from a cruise ship, we ended at Verde Blu. The package included sun beds and a drink but we opted for an early lunch on the spot, on the terrace side, covered with an interesting fabric canopy. I enjoyed the haloumi cheese and French fries and a glass of Greek wine. The service was laid back but cool. The only draw back of the place was the presence of heavy loaded garbage bins as the island was struck by a strike.
Been to Verde Blu Bar on the Beach? Share your experiences!


Small loosely clumped sedge (20-30 cm tall) of boreal fens; leaves 1-2 mm wide, pale green; spikelets lateral, 3-4 crowded at tip of culm; perigynia flattened and ascending, brown, with very short beak.
Found in open, calcareous, sedge dominated fens and muskegs.
Black spruce, tamarack, northern white cedar, leatherleaf, Labrador-tea, shrubby cinquefoil, dwarf raspberry, false Solomon's seal, and sphagnum moss.
Primarily needs conservation of habitat and maintenance of hydrological and natural disturbance regimes. Likely sensitive to artificial disturbance, such as impacts from excessive logging activities.


New Prop 65 Warning Requirements Are Coming On Aug. 30 – Are You Ready?
The California Safe Drinking Water and Toxic Enforcement Act, or "Proposition 65", has new requirements that will go into effect on August 30, 2018. The regulation requires entities doing business in California to provide warnings to consumers about possible exposure to specific chemicals linked to cancer, birth defects, or reproductive harm. The new requirements provide additional guidelines for how the chemical warnings should be delivered. Businesses should take necessary precautions to ensure that they are prepared for the regulation update.
This article discusses the new Prop 65 requirements and the measures that businesses should take to be in compliance.


text:
Q: What does it mean to 'align data frequencies'? If I have two variables that have different sampling frequencies, one of the first steps is to align the frequencies; could someone explain the intuition of this alignment without being too technical. I am reading some theory on doing MIDAS regression and can't grasp this concept.
What does it mean to align data frequencies? for my case; I have a lower frequency variable Yt which is sampled monthly, and one higher frequency variable that is sampled daily.

For my purposes I need only one explanatory variable, so my mapping should only require the first row of the matrix.
A simple example would help me a lot!
Thank you

A: Well in this particular document (of which I am one of the authors and from which the excerpt was taken) aligning time-series means simply forming the matrix $\mathbf{X}$. Here is the simple example. Let $y_t$ be a quarterly time series and $x_\tau$ be a monthly time series. Suppose we are interested in a model, where we try to explain what happens to $y$ in one quarter using the the monthly data in that quarter. So for quarter $t=1$ we have the monthly data $\tau=1,2,3$. Then the MIDAS regression model is the following:
$$y_t=x_{3t}\beta_0+x_{3t-1}\beta_1+x_{3t-2}\beta_2+\varepsilon_t$$
In this case we aligned high frequency variable $x_\tau$ into a vector $X_t=[x_{3t},x_{3t-1},x_{3t-2}]$. This operation can be called embedding, or another term.

redpajama_set_name: RedPajamaStackExchange


text:
Beef over female rocket scientist's obit prompts Times to change it
Dylan Stableford
The Lookout March 31, 2013
Yvonne Brill was a brilliant rocket scientist who invented a propulsion system for satellites in the early 1970s and received a National Medal of Technology and Innovation in 2011. Yet her New York Times obituary, published in the newspaper on Sunday, begins like this:
She made a mean beef stroganoff, followed her husband from job to job and took eight years off from work to raise three children. "The world's best mom," her son Matthew said.
But Yvonne Brill, who died on Wednesday at 88 in Princeton, N.J., was also a brilliant rocket scientist, who in the early 1970s invented a propulsion system to help keep communications satellites from slipping out of their orbits.
Many readers criticized the Times and obit writer Douglas Martin for leading with Brill's contributions at home rather than, you know, to the field of rocket science.
"If you were tasked with writing Brill's obituary ... you'd probably want to start with her litany of scientific innovations, wouldn't you? Wrong!" Doug Barry wrote on Jezebel.com. "You'd rhapsodize about her beef stroganoff because even rocket scientist wives and mothers are still only as important as their best culinary accomplishments."
Engineer instrumental in developing propulsion systems but hey she was a woman so look her beef stroganoff was her real achievement.
— Sabine Wolff (@sabinewolff) March 30, 2013
Dear NYT, just in case you're prewriting obits of obscure book critics, everybody says I make delicious chocolate chip cookies. — Ron Charles (@RonCharles) March 30, 2013
You're kidding, right? She significantly advanced the final frontier, and you lead with stroganoff?!? Shameful. nytimes.com/2013/03/31/sci…
— Bradley Grzesiak (@listrophy) March 30, 2013
New York Times public editor Margaret Sullivan was among those critics.
"To the many who've tweeted at me about the Yvonne Brill obituary," Sullivan wrote on Twitter, "I sure agree."
The Times, for its part, changed the online version of the article, stripping the reference to Brill's beef stroganoff:
She was a brilliant rocket scientist who followed her husband from job to job and took eight years off from work to raise three children. "The world's best mom," her son Matthew said.
TheBlast

redpajama_set_name: RedPajamaCommonCrawl


text:
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HomePermits :: Alarm Permits
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ALARM ORDINANCE
8.15.010 Purpose.
8.15.030 Rules and regulations.
8.15.040 Duties of an alarm business.
8.15.050 Duties of an alarm subscriber.
8.15.060 Duties of a proprietor alarm owner/operator.
8.15.070 Permits and exemptions.
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8.15.090 License prohibitions.
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8.15.140 Alarm system prohibitions.
8.15.150 Grace period.
8.15.160 Inspection, service activation.
8.15.170 Prohibition of automatic or pre-recorded messages on signals directly to the City of Evansville.
8.15.180 Disbursement of permit fees and fines generated by enforcement of this chapter.
This chapter is intended to regulate the activities and responsibilities of those persons who purchase, rent or use and those persons who own or conduct the business of selling, renting, maintaining or monitoring alarm systems, devices or services. It is further intended to encourage the improvement in reliability of those systems, devices, and services and to ensure that Police Department personnel will not be unduly diverted from responding to actual criminal activity as a result of responding to false alarms. This chapter specifically encompasses burglar alarms, robbery alarms, and holdup alarms both audible and inaudible (silent). The provisions of this chapter, except EMC 8.15.100(D) shall not apply to alarm systems which are owned or installed for the benefit of the Federal, State or local government on property in which the governmental entity has a property interest. [Ord. G-97-16, passed 10-6-97. 1983 Code § 11.120.01.]
For the purposes of this chapter, the following words or phrases shall have the following meanings unless the context clearly indicates otherwise:
"Act of nature" means an unusual, extraordinary, sudden and unexpected manifestation of the forces of nature which cannot be prevented by reasonable human care, skill or foresight.
"Alarm" or "alarm system" means any electric instrument(s) or other device(s) which as one of its purposes is used to protect buildings, premises or persons from criminal acts or unauthorized entries by warning persons of a crime or unauthorized entry through the emission or transmission of a sound or signal.
"Alarm agent" means any person who is employed by an alarm business either directly or indirectly, whose duties include any of the following: maintaining, servicing, repairing any alarm or alarm system in or on any building, place or premises. Any person whose duties consist solely of resetting an alarm following activation shall not be deemed to be an alarm agent.
"Alarm business" means any person, firm, partnership, corporation or other entity who (which) owns or conducts the business of any one or more of the following: selling, leasing, renting, maintaining or monitoring alarm systems, devices or services.
"Alarm subscriber" means any person, firm, partnership, corporation or other business who (which) leases, rents or purchases any monitored alarm system, device or service from an alarm business or who (which) leases or rents an audible alarm system or device.
"Audible alarm" means a device designed for the detection of an unauthorized entry on premises and which when activated generates an audible sound on the premises.
"Automatic dialer" means any electrical, electronic, mechanical or other device capable of being programmed to send a prerecorded voice message, when activated or if self-activated, over a telephone line, radio or other communication system, to the Police or Fire Departments.
"Common cause" means a common technical difficulty or malfunction which causes an alarm system to generate a series of false alarms. Said series of false alarms shall be counted as one false alarm only if the false alarms have all occurred within a 72-hour period, the responsible alarm business has documented, to the Police Chief, the action taken to rectify the cause and the 30-day grace period expires with the alarm system generating no additional false alarms from the documented cause.
"False alarms" means any activation of an alarm not caused by or as a result of a criminal act or unauthorized entry, except for activation for testing purposes when the Police Department has been given advance notice of such testing, or activation caused by the Police Department.
"Monitored alarm" means a device designed for the detection of an unauthorized entry in premises and which when activated generates an inaudible signal to a monitoring station. A monitored alarm may also generate an audible sound on the premises.
"Proprietor alarm" means any alarm or alarm system which is not leased or rented from, or owned or maintained under contract by, an alarm business.
"Robbery, holdup or panic alarm" means a device designed for the detection of a robbery, holdup or the commission of an unlawful act within the premises protected by the alarm system and which may be intentionally activated by a person, generates an inaudible signal to the monitoring station and may or may not generate an audible sound at the premises. [Ord. G-97-16, passed 10-6-97. 1983 Code § 11.120.02.]
The Board of Public Safety is authorized to make reasonable rules and regulations to implement the provisions and purposes of this chapter. The Police Chief shall administer the provisions of this chapter. [Ord. G-97-16, passed 10-6-97. 1983 Code § 11.120.03.]
The duties of an alarm business shall be as follows:
(A) To install an alarm or alarm system compatible with the environment and be available to maintain the alarm or alarm system in good working order and to take reasonable measures to prevent the occurrence of false alarms.
(B) To instruct each of its alarm subscribers and/or the principal occupants of the buildings or premises protected by an alarm system in the proper use and operation of the system. Such instructions will specifically include all necessary instructions in turning the alarm on and off and in avoiding false alarms.
(C) To provide each purchaser and subscriber with a copy of the provisions of this chapter relating to alarm subscriber duties, false alarm assessments and appeal procedures.
(D) Upon leasing or renting an alarm system:
(1) To maintain records of the location of these alarm systems, devices or services and the name and telephone number of the person and alternates to be notified whenever the alarm is activated and to readily report such information to the Police Department upon request;
(2) To inactivate or cause to be inactivated the audible alarm within 15 minutes of the notification of its activation in the event the primary and alternates cannot be contacted or do not respond.
(E) Upon leasing, renting, selling or monitoring an alarm system:
(1) To establish a central receiving station in order to monitor these alarm systems;
(2) To organize its central receiving station in order to be able to readily and positively identify the type of alarm, i.e., burglary, robbery, holdup or panic, and the location of the alarm, if there is more than one system;
(3) To maintain records as to each of these alarm systems, devices or services which should include the name of the owner or occupant of the premises, and the name and telephone number of the subscriber, or primary person and alternates responsible for responding to the premises when the alarm system includes an audible alarm;
(4) To make notification of activated alarm systems in the manner prescribed by the Police Chief, including such reasonable information concerning the alarm system as the Police Department may request;
(5) To arrange for either the alarm subscriber, alarm agent or other responsible representative to go to the premises of an activated alarm system within 30 minutes of the activation of the alarm in order to be available to assist the police in determining the reason for the activation and securing the premises. In no event shall there be an unreasonable delay in arriving at the location of the alarm.
(F) To cease responsibility for an alarm system pursuant to this chapter, the alarm business shall promptly notify the Police Department in the event the alarm business ceases to lease, rent, maintain, service or monitor any alarm system. Said notice shall be sent within 10 days of the date service or responsibility is discontinued.
(G) Alarm businesses which do not monitor, maintain, service or install alarms or alarm systems shall not be subject to subsection (A), (B), (C), (D), (E) or (F) of this section, but shall be responsible for instructing each person who purchases an alarm or alarm system in the proper use and operation of the alarm, informing each alarm subscriber or alarm purchaser to contact the Evansville Police Department for information regarding this chapter, and advising each alarm subscriber or alarm purchaser of the requirement of an alarm subscriber permit. Such instructions will specifically include all necessary instructions in turning off said alarm(s) and in avoiding false alarms.
(H) Alarm businesses which monitor but do not sell, lease, rent, install, service or maintain alarms or alarm systems shall not be subject to subsection (A), (B), (C), or (D) of this section, but shall inform each alarm subscriber or alarm proprietor that an alarm subscriber permit is required by this chapter.
(I) Alarm businesses which sell or install alarms or alarm systems but do not lease, rent, monitor, service or maintain them shall not be subject to subsection (A), (D), (E) or (F) of this section, but shall inform each alarm subscriber or alarm proprietor that an alarm subscriber permit is required by this chapter. [Ord. G-97-16, passed 10-6-97. 1983 Code § 11.120.04.]
The duties of an alarm subscriber shall be as follows:
(A) To instruct all personnel who are authorized to place the system or device into operation in the appropriate method of operation, and to lock and secure all points of entry, such as doors and windows.
(B) To inform all personnel who are authorized to place the alarm system into operation of the provisions of this chapter emphasizing the importance of avoiding false alarms. A current copy of the provisions of this chapter shall be maintained on the premises and be made available to persons who are authorized to place an alarm system into operation.
(C) To apply for an alarm subscriber permit from the Evansville Police Department.
(D) To respond to the scene of an activated alarm within 30 minutes of the alarm activation after being notified by the subscriber's alarm company or the Evansville Police Department. [Ord. G-97-16, passed 10-6-97. 1983 Code § 11.120.05.]
The owner/operator of a proprietor alarm shall have the following duties:
(A) To be familiar with the provisions of this chapter and to apply for an alarm subscriber permit from the Evansville Police Department.
(B) To maintain the alarm or alarm system in good working order and take reasonable measures to prevent the occurrence of false alarms.
(C) To notify the alarm business of the name and telephone number of the primary person and alternates to be notified in case the alarm is activated.
(D) Upon the purchase of any alarm system, device or service which includes an audible alarm:
(1) To notify the alarm business of the name, address and telephone number of the primary person and at least one alternate who should be notified when the alarm is activated.
(2) To inactivate or cause to be inactivated the alarm system within 15 minutes of notification of its activation. [Ord. G-2000-31 § 1, passed 1-9-01; Ord. G-97-16, passed 10-6-97. 1983 Code § 11.120.06.]
(A) This chapter shall not apply to audible alarms affixed to motor vehicles.
(B) A permit from the City shall be required by each alarm business and alarm agent.
(C) Every alarm business shall pay an initial application fee of $240.00 and a permit fee of $120.00 per calendar year (prorated to the nearest month).
(D) Every alarm agent shall pay an application/permit fee of $35.00.
(E) Alarm business permits shall be renewed on or before January 1st of each year. An alarm agent permit shall be effective until canceled or surrendered as provided herein.
(F) The application for each of these permits shall be submitted to the office of the alarm coordinator utilizing the format as may be prescribed by the Chief of Police.
(G) The application for an alarm business permit shall include:
(1) The name, address and telephone number of the alarm business;
(2) The names and address of the alarm agents employed by the alarm business.
(H) The application for alarm agent permit shall include:
(1) The name and address of the individual applying for the permit;
(2) The alarm business for which the applicant is employed;
(3) Whether the applicant has been convicted of any felonies.
(I) All applications shall be approved unless it is determined that the applicant is not qualified for a permit because:
(1) The applicant has knowingly and willfully given false information on the application; or
(2) The applicant or any of his (its) officers has violated a provision of this chapter; or
(3) The applicant or any of his (its) officers has been convicted of a felony.
(J) A copy of the alarm business permit shall be at all times physically present at the alarm business' central station or office and shall be available for inspection by the Police Department.
(K) Each alarm agent shall carry on his person at all times while so employed a valid alarm agent permit and shall display the same to any police officer upon request.
(L) If an alarm agent terminates his employment with an alarm business, except as provided in subsection (M) of this section, such permit shall be surrendered to such alarm business within five days thereafter; it shall be mailed or delivered by the alarm business to the Police Chief for cancellation. Should the alarm agent fail to surrender his permit to the alarm business, the alarm business shall give notice to the Police Chief that the agent has been terminated and has failed to surrender his permit.
(M) If an alarm agent terminates his employment with an alarm business for the purpose of transferring employment to another alarm business permittee, he shall surrender his permit as provided in subsection (L) of this section and shall advise the Police Chief who shall issue him a temporary permit, after employment verification, until such time as a new permit is issued to him. Both the temporary and the new permit shall be issued to the alarm agent without charge. [Ord. G-2000-31 § 2, passed 1-9-01; Ord. G-97-16, passed 10-6-97. 1983 Code § 11.120.07.]
(A) The Chief of Police may suspend or revoke an alarm business or alarm agent permit on any of the following grounds:
(1) Failure of the permittee to comply with the requirements of this chapter;
(2) Conviction of the permittee or any of its officers of a felony;
(3) When the permittee or any of his (its) officers, employees or agents has knowingly made any false, misleading or fraudulent statement of a material fact in any report or record required pursuant to this chapter.
(B) The suspension or revocation may be appealed to the Board of Public Safety in accordance with the provisions in EMC 8.15.130. [Ord. G-97-16, passed 10-6-97. 1983 Code § 11.120.08.]
(A) If the Police Department has recorded an alarm for a subscriber and the alarm business for that subscriber has not applied for and received a permit therefor in accordance with the provisions of this chapter:
(1) The Police Department shall issue a warning to the alarm business stating that the alarm business is in violation of the provisions of this chapter. The warning shall direct the alarm business to apply for a City of Evansville alarm business permit within 10 days.
(2) If the alarm business applies for and receives an alarm business permit as required in subsection (A)(1) of this section, no assessment shall be made at that time.
(3) If the alarm business does not apply for an alarm business permit as required, an assessment shall be made pursuant to subsection (A)(4) of this section.
(4) An alarm business which fails to apply for an alarm business permit as required by this subsection shall be assessed a fee in the amount of $500.00 per alarm activation. The alarm business shall tender the fee assessed within 20 days of the date ordered by the Police Department.
(5) If a person applies for an alarm business permit as required in subsection (A)(1) of this section and the alarm business permit is not approved, it shall be unlawful for the person to engage in, conduct or carry on an alarm business.
(B) It shall be a violation of this chapter for any person to engage in, represent himself to be, or operate as, an alarm agent without first applying for and receiving a permit therefor in accordance with the provisions of this chapter. [Ord. G-97-16, passed 10-6-97. 1983 Code § 11.120.09.]
(A) Every alarm subscriber and proprietor alarm owner shall apply for and receive an alarm subscriber permit from the City of Evansville Police Department. Application shall be made with the Police Department for a permit within 10 days of the installation date of a new alarm system. Alarm subscriber permits will be on forms approved by the Police Department and shall be accompanied by a $20.00 permit fee. An alarm subscriber permit shall be available for inspection by the Police Department. Permits are not transferable from one subscriber or proprietor to another subscriber, or from one address to another address. An alarm subscriber permit shall be valid for five years from the date of issuance.
(B) If the residential alarm subscriber or proprietor alarm owner is over the age of 65 and is the primary resident of the residence and if no business is conducted in the residence, an alarm subscriber permit shall be issued by the Police Department without the payment of the fee.
(C) If the residential alarm subscriber or proprietor alarm owner of record is permanently physically disabled and is the primary resident of the residence and if no business is conducted in the residence, an alarm subscriber permit shall be issued by the Police Department without the payment of a fee upon submission of a statement in writing by a physician licensed to practice medicine that the residential alarm subscriber or proprietor alarm owner has a permanent physical impairment which substantially limits his or her ability to move from place to place.
(D) Alarm systems which are leased, rented, owned or maintained by any governmental entity and installed on premises in which the entity has a property interest shall be subject to this chapter and shall be required to obtain a permit, but a permit shall be issued without payment of the fee.
(E) If an alarm subscriber has multiple alarm systems at one location, an alarm subscriber permit for each separate address location will be required.
(F) When the Police Department has recorded an alarm for a subscriber or proprietor alarm owner which has not applied for an alarm subscriber permit therefor in accordance with the provisions of this chapter:
(1) The Police Department shall send a notice to the alarm subscriber or proprietor alarm owner stating that they are in violation of the provisions of this chapter. The notice will direct the alarm subscriber or proprietor alarm owner to apply for the alarm subscriber permit within 10 days of the date of the notice. This notice shall notify the party that, in addition to any fines imposed pursuant to EMC 8.15.120, the failure to obtain the alarm subscriber permit shall result in a fine of $100.00 for each alarm which has occurred while the alarm system has operated without an alarm subscriber permit.
(2) If the alarm subscriber or proprietor alarm owner applies for an alarm subscriber permit, the $100.00 per alarm fine will not be imposed. If the alarm subscriber or proprietor alarm owner fails to apply for the alarm subscriber permit within the 10 days of the date of the notice, a $100.00 fine will be sent to the alarm subscriber or proprietor alarm owner for each alarm which has occurred while the system has operated without an alarm subscriber permit. The alarm subscriber or proprietor alarm owner shall tender the fine imposed within 20 days and apply for the alarm subscriber permit. [Ord. G-2000-31 § 3, passed 1-9-01; Ord. G-97-16, passed 10-6-97. 1983 Code § 11.120.10.]
When an alarm system generates two false alarms within a calendar year, the Police Department shall send a warning notice to the alarm subscriber. Subsequent false alarms within said period will subject the notified parties to the sanctions provided herein. [Ord. G-2000-31 § 4, 1-9-01; Ord. G-97-16, passed 10-6-97. 1983 Code § 11.120.11.]
(A) Any alarm system which has three or more false alarms within a calendar year shall be subject to a fine as provided herein.
(B) If the Police Department records three or more false alarms within a calendar year:
(1) The Police Department shall notify the alarm subscriber by mail of such fact and direct that a report be submitted to the Police Chief within 20 days of the date of the mailing. The report shall contain:
(a) A description of the action taken or to be taken to discover and eliminate the cause of the false alarm.
(b) Specific defenses, if any, why the alleged false alarms should not be considered false alarms. Evidence that a false alarm was caused by an act of nature, common-cause or action of the telephone company shall constitute affirmative defenses to an assessment for the particular false alarm.
(2) The report required in subsection (B)(1) of this section shall be received by the Police Chief or his designee within the time specified. If the report is not timely submitted, any notified party shall be deemed to have waived his right to any further review or hearing as provided herein and the alarm business and the alarm subscriber or the proprietor alarm owner operating the alarm system generating the false alarms will be assessed pursuant to subsection (B)(5) of this section.
(3) If the report required in subsection (B)(1) of this section is submitted, the Police Chief or his designee shall review the corrective action taken or to be taken to discover and eliminate the cause of the false alarms. If it is determined that a valid defense to the initial determination of false alarms has been accepted, no assessments will be made at that time. The notice shall specifically set forth the findings and conclusions of the Police Chief with respect to the review of the report submitted.
(4) If the Police Chief or his designee determines that a defense to the initial determination of false alarms has not been alleged or accepted, a notice shall be sent forth by mail to the alarm subscriber or the proprietor alarm owner that they will be assessed pursuant to subsection (B)(5) of this section. The notice of decision shall contain the specific findings and conclusions of the Police Chief with respect to the review of the report submitted.
(5) The fine imposed pursuant to subsections (B)(2) and (4) of this section shall be in an amount of $55.00 per false alarm upon the third to the ninth alarms, $100.00 per alarm upon the tenth to the fourteenth alarms and $200.00 per alarm upon the fifteenth and each subsequent false alarm. The alarm subscriber will be responsible for the payment of any fines imposed upon their alarm system. The owner of a proprietor alarm shall be responsible for the payment of any assessment solely imposed upon a proprietor alarm system. [Ord. G-2000-31 § 5, passed 1-9-01; Ord. G-97-16, passed 10-6-97. 1983 Code § 11.120.12.]
(A) Any party aggrieved by a decision of the Chief of Police under EMC 8.15.080or a decision of the Police Chief or his designee made pursuant to EMC 8.15.120may, within 10 days of receipt of notice of the decision, appeal to the Board of Public Safety by filing an appeal with the Police Chief or his designee.
(B) The request for an appeal shall set forth the specific objections to the decision of the Police Chief or his designee.
(C) The Board of Public Safety shall set a time and place for the hearings as soon as practicable.
(D) The hearing process shall be conducted in an informal process:
(1) The Board of Public Safety shall not be bound by the technical rules of evidence in the conduct of such hearings.
(2) All parties to the hearing shall have the right to present evidence in support of or in opposition to the decision of the Police Chief or his designee.
(E) The decision of the Board of Public Safety shall be based upon the evidence presented.
(F) When the decision of the Police Chief is affirmed on appeal involving an alarm subscriber and alarm business permittee, the Safety Board may designate the alarm subscriber or the alarm business permittee as solely responsible for the payment of the assessment. [Ord. G-97-16, passed 10-6-97. 1983 Code § 11.120.13.]
Upon a final determination of fine(s) pursuant to EMC 8.15.120or 8.15.130for the third and any subsequent false alarms within a calendar year, the responsible party shall tender the fee imposed within 20 days of the date ordered or discontinue operation of the alarm system. In the event the operation of said alarm system is not discontinued and the assessment not tendered, its continued operation by the alarm subscriber or proprietor alarm owner is unlawful and the unpaid balance will be subject to a charge of one and one-half percent per month, compounded monthly, in addition to the assessment. If the fine is not paid within the 20-day period, the alarm subscriber or proprietor alarm owner shall be issued a violation of City ordinance citation. [Ord. G-2000-31 § 6, passed 1-9-01; Ord. G-97-16, passed 10-6-97. 1983 Code § 11.120.14.]
(A) Newly installed and reinstalled alarm systems shall not be subject to the provisions of this chapter relating to the counting and fines for false alarms for a period of 30 days from the date the alarm system becomes operational. For the purpose of this section, "reinstalled alarm system" means the installation of a new control panel.
(B) The grace period provided in subsection (A) of this section shall apply only if the alarm business, alarm subscriber or proprietor alarm owner notifies the Police Chief or his designee in writing within 10 days of the completion of installation or reinstallation and the alarm subscriber or proprietor alarm owner has applied for an alarm subscriber permit in accordance with EMC 8.15.100. The written notice shall specify the date the system was installed or reinstalled. For reinstalled alarm systems, the notice shall also describe the nature and extent of the reinstallation. [Ord. G-97-16, passed 10-6-97. 1983 Code § 11.120.15.]
(A) Each alarm system shall be inspected and serviced by the permittee at least once in each 12-month period. Records shall be maintained by the permittee for each alarm system showing dates of inspection and the name of the person making such inspection. Records shall be kept for a minimum of 12 months and be open to the Police Chief or his designee upon his request upon 72 hours' notice served by U.S. mail.
(B) It shall be a violation of this chapter for any person to intentionally activate any burglar, robbery, holdup or panic alarm, except to warn of a criminal act or unauthorized entry on or into an alarm-protected premises. This subsection shall not apply to the testing of an alarm system when the Police Department has been given advance notice of such testing. [Ord. G-97-16, passed 10-6-97. 1983 Code § 11.120.16.]
No person shall use or cause to be used any telephone device or telephone attachment that automatically selects or dials a published emergency telephone number or any City of Evansville telephone number and then reproduces any prerecorded message or signal; provided, that this section shall not apply to a life safety alert system utilizing residential transmitting equipment designated for direct telephone access to dedicated control receiving equipment located in the EMS provider. [Ord. G-97-16, passed 10-6-97. 1983 Code § 11.120.17.]
All permit fees and fines generated by the enforcement of the ordinance codified in this section, with the exception of court costs for City ordinance violation actions, will revert to Evansville Police Department accounts. These monies will be used to fund the operation costs of maintaining and enforcing this alarm ordinance as codified in this section. Disbursement of funds will be distributed at the discretion of the Chief of Police. [Ord. G-2000-31 § 7, passed 1-9-01. 1983 Code § 11.120.18.]
Copyright Evansville Police Department. All rights reserved.
15 N.W. M.L. King Jr. Blvd. | Evansville IN 47708 | Phone: (812) 436-7896


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Texas Tech University, Austin College Sign Important Agreements
Amanda Bowman
The two institutions are partnering to allow Austin College undergraduate students to "fast track" a master's degree from Texas Tech, as well as Texas Tech agreeing to conduct courses on the Austin College campus.
Texas Tech University and Austin College signed two memorandums of understanding today (Oct. 17) to solidify academic and facilities agreements between the two institutions.
The academic agreement creates a pathway from Austin College to Texas Tech's Lubbock campus. Undergraduate students enrolled in Austin College can "fast track" their graduate degree, which will be completed through Texas Tech's Graduate School.
Courses taken as part of the graduate curriculum, or as leveling courses for that curriculum, can be counted toward both the student's undergraduate degree at Austin College and the student's graduate degree at Texas Tech. Thus, when the student graduates from Austin College, he or she will have completed some of the coursework required for a graduate degree at Texas Tech.
(From L to R) Texas Tech President Lawrence Schovanec; Tom Hall, Austin College Board of Trustees; Steven O'Day, Austin College president
"This partnership with Austin College will afford students at this outstanding college and in the surrounding area the opportunity to pursue a graduate degree from Texas Tech University," said Lawrence Schovanec, Texas Tech president. "Students in this program will have access to resources on the Austin College campus and the shared expertise of faculty and staff from both institutions who share the common vision of enhancing opportunities for students and addressing the educational needs of the region."
The facilities agreement allows Texas Tech graduate courses to be conducted on the Austin College campus, effectively establishing a regional teaching site in Sherman. It also lays out the parameters and responsibilities by each institution for office space, infrastructure and classroom usage.
"This innovative partnership between Austin College and Texas Tech University, two of the finest institutions in Texas, ushers in a new era of collaboration in higher education," said Austin College President Steven O'Day. "Bringing together, in one place, the extraordinary Austin College undergraduate experience with a top-quality graduate degree from Texas Tech University is a concept that speaks to the needs of today's students in Texas and around the nation. The opportunity for students to pursue this educational pathway in an uninterrupted and accelerated fashion makes this truly remarkable and valuable. We are excited to be on the leading edge of higher education innovation with our friends at Texas Tech and are already looking forward to exploring new program offerings in the future."
Texas Tech University and Austin College
Currently, three master's degree programs are in the works to be offered at Austin College: technical communication and public administration, through the College of Arts & Sciences, and mass communication through the College of Media & Communication. An MBA program may be established at a later date.
"This agreement builds upon Austin College's ongoing relationship with Texas Tech by creating additional graduate pathways for qualified Austin College students and alumni to enroll in and graduate from high-quality Texas Tech graduate programs," said Beth Gill, Austin College vice president for Academic Affairs and dean of the faculty. "Students will have the opportunity to accelerate both the undergraduate and graduate degrees, often without leaving campus. The first program slated for implementation will allow Texas Tech to offer a Master of Arts in mass communications on our campus, providing our students with a seamless continuum of opportunities to further ensure their future success."
tags: Academics, Achievements, Feature Stories, Graduate School, Stories, eLearning, provost
A new era of excellence is dawning at Texas Tech University as it stands on the cusp of being one of the nation's premier research institutions.
Research and enrollment numbers are at record levels, which cement Texas Tech's commitment to attracting and retaining quality students. In fall 2020, the university achieved a goal more than a decade in the making, reaching a total student population of more than 40,000. In 2018, the Carnegie Classification of Institutions of Higher Education again placed Texas Tech among its top doctoral universities in the nation in the "Very High Research Activity" category. Texas Tech is one of 94 public institutions nationally and 131 overall to achieve this prestigious recognition.
Quality students need top-notch faculty. Texas Tech is home to a diverse, highly revered pool of educators who excel in teaching, research and service. The university strives to foster an environment that celebrates student accomplishment above all else. Texas Tech is large enough to provide the best in facilities and academics but prides itself on being able to focus on each student individually.
The momentum for excellence at Texas Tech has never been greater.
TTU Mobile
eLearning & Academic Partnerships
Texas Tech University eLearning & Academic Partnerships is dedicated to bringing you a quality education anywhere. With more than 80 fully online degree programs and seven regional teaching sites in Texas, pursuing an education through Texas Tech is possible at any location.
The Office of the Provost is responsible for the overall academic mission of the university. This involves working with the president, deans, faculty, students and staff to promote academic excellence throughout the institution.
The Graduate School at Texas Tech University offers unlimited opportunity for advancement with more than 160 different masters and doctoral degree programs complemented by interdisciplinary programs from 50 specialized centers and institutes.
More than 5,300 graduate and professional students are currently enrolled in the Graduate School.
From toxic waste research to archaeology, from land-use programs to nationally known laser fingerprint detection studies, the Graduate School offers unlimited opportunity for aspiring scholars.
© 2022 Texas Tech UniversityJan 21, 2022 1:01 PM


This web site is a biography of the book, Harriet the Spy. It was composed for a course on the History of the Book at the University of British Columbia in the fall of 2010.
To see footnotes, mouse over the word "footnote" wherever it appears. If you are interested in a particular issue, tags can be used to find material scattered on different pages. Images can be clicked on for enlargement. Sources appear at the bottom of each page, in the order they are mentioned in the text, and are collected on the sources page.
The stories on the blog (this web site's front page) were collected from published sources and the web (noted in the posting itself), and from friends, and their friends. If no citation or link appears, it means that story was sent to me privately. Grateful thanks are due and gladly extended to those who shared their "Harriet" stories with me, including the four friends who trudged around the Upper East Side of New York with me on a chilly day in the fall of 2001, walking in Harriet's footsteps and drinking egg creams. Particular among them is my partner and in-house tech consultant, Winnifred Tovey, who makes the stuff work when it doesn't want to.
Thanks for your website, which is very informative and full. I'm a big fan of Harriet, although the book is not greatly known in the UK. At present, I reading it to my daughter and having a great time at time with it. I hope it might encourage her to write and value her own thoughts and face up to difficult situations and sticky moments. Above all, I think it is a book which makes you struggle with yourself. Salinger for children, if you like. A few things stick in my mind. I teach English and once included this book on a course of children's literature I once taught to teacher-trainers. I was horrified to discover that some UK editions of Harriet had been 'Anglified' with many American terms and colloquialisms ('sidewalk', for example) substituted with dull English counterparts. I can't imagine Louise Fitzhugh agreeing to this. Secondly, I am amazed by the quality of the illustrations. Fitzhugh has a real mastery of line which is completely in keeping with the feeling and humour of her writing. I have found a couple of paperback copies of Nobodies Family and The Long Secret, but neither of these include illustrations. I wonder if you can tell me whether Fitzhugh drew illustrations for these books. Above all, on re-reading the book, I find that Harriet is a work of great humanity and insight. Wonderful, the terrible scene of Ole Golly's dismissal and departure. And fascinating how Ole Golly herself accepts the change and encourages Harriet to move on from it. Ole Golly also seemed to have known that it was time she moved on and left the household. Both she and Harriet had outgrown the situation. I am also fascinated by the idea that writing is seen as a source of pain and torment in the book, as well as pleasure. I begin to see Harriet as a neurotic character who clings to writing as a way of finding control. And Ole Golly, (who has chosen to play the very tricky role of live-in nanny and mentor in a rich and emotionally incapable family) encourages Harriet to pursue it, a strategy that can only have caused further separation in the family. Fascinating, also, when Harriet's mother catches her writing, for the first time, and realises how little she knows her own girl. At the same time, Mrs Welsch must have wondered why she decided to employ a nanny in the first place, why did she need to delegate her love to someone else. The tension the book – between being in a family and being in yourself – is an unusual one for a children's book to pursue. It is more Tolstoy than Tolkein. Thank God. And excuse the essay.
Have you read The Little Friend by Donna Tartt?
I haven't, but I will now! Thank you for the recommendation.


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Dudgeon Park es un estadio de fútbol ubicado en la localidad escocesa de Brora. Es la casa del Brora Rangers F.C., que actualmente juega en la Liga Highland de Escocia, y tiene una capacidad para 4000 espectadores.

Estadios de fútbol de Escocia


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We will be close 23rd and 24th of April Closed for maintenance. Thank you for understanding.
Since opening in 1989, we have been frequented by locals and visitors alike. We're known for our fresh, cooked-to-order seafood, hand-shucked Gulf and Blue Point oysters, poultry, pasta, and hand-cut steaks. Our house-made seafood chowder is the all-time customer favorite. If there's any room left over, try one of our homemade desserts. Our bar offers a variety of cocktails, an extensive wine list, and a selection of draft, craft and microbrew beers.
At the Galley, we serve seven days a week for lunch and dinner, as well as brunch on Sundays. Our creative team in the kitchen comes up with daily specials for lunch and dinner, and we serve generous portions of food that is as local and fresh as we can acquire.
We're a first come, first serve restaurant. We do not seat incomplete parties and cannot place you on our waitlist until your party is complete. We do understand parties and special events, and on Monday through Thursday can accommodate parties of ten to forty. Call and ask for one of our managers as the room fills quickly and we will do our best for you and your group.
Please call and place your to go order at 828-456-8945. We will take phone orders until we begin a wait and at this point all to go orders will be placed in person at the bar.
Catering: We can cater your luncheon or dinner event. Call and ask a manager for details.
Pick up a Galley Gift Card for any amount at the restaurant, or give us a call and we can mail one to you.


Ventura County officials have confirmed that oilfield waste management company Anterra Energy Services, which has facilities in Oxnard and Santa Paula, will no longer be trucking additional waste to the Oxnard location.
The move was taken after it was allowed to temporarily increase truckloads following the Nov. 18 chemical explosion and subsequent suspension of operations at Santa Clara Wastewater near Santa Paula.
At a Ventura County Board of Supervisors meeting on Dec. 16, county staff confirmed that Anterra will no longer be allowed to transfer 64 truckloads of waste per day, returning to its prior cap of 24 trips.
Anterra oversees the only commercial injection wells in Ventura County that can legally dispose of fluids from oil production. The company has faced a series of legal troubles and clashes with the county this past year, including a criminal investigation by the District Attorney's Office searching for evidence of hazardous waste dumping and other illegal activities.
Reached by telephone, an Anterra spokeswoman declined to comment on the matter; Anterra Energy Services provides services to oil and gas clients in Ventura and Kern Counties.
Chris Stevens, director of the county Resource Management Agency, told the board at its Dec. 16 meeting that Anterra will officially no longer be able to increase its trucking limits as it had been following the Santa Clara explosion.
"That extension has now expired," he told the board.
The firm was cited by the Ventura County Planning Commission in October for exceeding the standard daily limit of 24 trucks a day. In light of the decreased trucking, the company was forced to lay off 10 employees by mid-November.
Following the chemical explosion at the Santa Clara Wastewater facility, which left dozens injured from the released hazardous waste, county officials used the incident to draw attention to the operations of Anterra, which some said could suffer a similar incident.
The cleanup of the Santa Clara Wastewater site is ongoing, county officials said.
At a Dec. 9 Ventura County Supervisors meeting, one environmental agency staffer told the board that Anterra does not handle hazardous chemicals. However, Supervisor John C. Zaragoza argued that the facility should not be allowed to keep an increase in trucking operations since the disposed waste could pose a threat to the surrounding community.
Meanwhile, some community members and oil industry representatives came out in defense of Anterra. Sandra Burkhart, senior coastal coordinator for the Western States Petroleum, said the county board should allow Anterra to increase its trucking operations since the chemical that caused the Santa Clara explosion is still unknown.
When some board members argued that disposing the waste in an area with a smaller human population than Oxnard or Santa Paula would be a more viable solution, Burkhart said that the number of people living near a waste facility is just one of many factors.


All this week we are celebrating the achievements of some of our students who are graduating in the class of 2018.
Daniella Otuagomah (BSc Accounting and Finance (including Year Abroad)) describes how her placement year working on the Caribbean Island of Sint Maarten changed her plans for the future.
Daniella worked as an economist for the Sint Maarten government. The project she's most proud of is recruiting, training and coordinating staff to interview 1,200 households across the island for the 2017 Labour Force Survey.
Daniella said: "I successfully managed a group of people and felt motivated because my work would directly affect the decision-making process of the government and, in turn, thousands of lives.
Daniella threw herself into student life – she was a Peer Engagement Ambassador for Essex Business School, Treasurer of the Nigerian Society, a Fundraising Representative for Enactus, and a Community Assistant for Residence Life, a role which gave her the opportunity to train as a certified Adult Mental Health First Aider.


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