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I've seen the term used, but what is a "diffraction limit", when should I worry about it, and what undesirable effects are a result of it ?
There have been some very good answers, however there are a couple details that have not been mentioned. First, diffraction always happens, at every aperture, as light bends around the edges of the diaphragm and creates an "Airy Disk". The size of the airy disk, and the proportion of the disk that comprises the outer rings, and the amplitude of each wave in the outer rings, increases as the aperture is stopped down (the physical aperture gets smaller.) When you approach photography in the way Whuber mentioned in his answer:
You realize that every one of those points of light, when focused by your lens, is generating its own airy disk on the imaging medium.
Regarding Image Medium
It should also be clearly noted that the diffraction limit is not actually a limitation of a lens. As noted above, lenses are always creating a diffraction pattern, only the degree and extent of that pattern changes as the lens is stopped down. The "limit" of diffraction is a function of the imaging medium. A sensor with smaller photosites, or film with smaller grain, will have a lower limit of diffraction than those with larger photosites/grains. This is due to the fact that a smaller photosite covers less of the airy disk area than a larger photosite. When the airy disk grows in size and intensity as a lens is stopped down, the airy disk affects neighboring photosites.
The diffraction limit is the point where airy disks grow large enough that they begin to affect more than a single photosite. Another way to look at it is when the airy disks from two point light sources resolvable by the sensor begin to merge. At a wide aperture, two point light sources imaged by a sensor may only affect single neighboring photosites. When the aperture is stopped down, the airy disk generated by each point light source grows, to the point where the outer rings of each airy disk begin to merge. This is the point where a sensor is "diffraction limited", since individual point light sources no longer resolve to a single photosite...they are merging and covering more than one photosite. The point at which the center of each airy disk merges is the limit of resolution, and you will no longer be able to resolve any finer detail regardless of the aperture used. This is the diffraction cutoff frequency.
It should be noted that it is possible for a lens to resolve a smaller spot the pixels in an imaging medium. This is the case when airy disks focused by a lens cover only a fraction of a photosite. In this case, even if two highly resolved point light sources generate airy disks that merge over a single photosite, the end result will be the same...the sensor will only detect a single point light regardless of the aperture. The "diffraction limit" of such a sensor would be higher (say f/16) than for a sensor that is able to distinctly resolve both point light sources (which might be diffraction limited at f/8). It is also possible, and likely that point light sources will NOT be perfectly focused onto the center of a photosite. It is entirely plausible for an airy disk to be focused at the border between two photosites, or the junction of four photosites. In a black and white sensor or foveon sensor (stacked color sensels), that would only cause softening. In a color bayer sensor, where a square junction of 4 photosites will be capturing an alternating pattern of GRGB colors, as airy disk can affect the final color rendered by those four photosites as well as cause softening or improper resolution.
My Canon 450D, a 12.2mp APS-C sensor, has a diffraction limit of f/8.4. In contrast, the Canon 5D Mark II, a 21.1mp Full Frame sensor, has a diffraction limit of f/10.3. The larger sensor, despite having nearly twice as many megapixels, can go an extra stop before it encounters its diffraction limit. This is because the physical size of the photosites on the 5D II are larger than those on the 450D. (A good example of one of the numerous benefits of larger sensors.)
Wrenches in the mix
You may often come across tables on the internet that specify a specific diffraction limited aperture for specific formats. I often see f/16 used for APS-C sensors, and f/22 for Full Frame. In the digital world, these numbers are generally useless. The diffraction limiting aperture (DLA) is ultimately a function of the relation of the size of a focused point of light (including the airy disk pattern) to the size of a single light sensing element on a sensor. For any given sensor size, APS-C or Full Frame, the diffraction limit will change depending on the size of the photosites. An example of this can be seen with Canon's EOS Rebel line of cameras over the years:
The story should be similar for film grain size. Films with finer grain would ultimately be more susceptible to diffraction softening at lower apertures than films with larger grains.
The Diffraction Cutoff Frequency
Diffraction is often touted as an image killer, and people talk about the "diffraction limit" as the point at which you can no longer resolve an image "usefully". On the contrary, the diffraction limit is only the point where diffraction starts to affect an image for the particular image medium you are using. The diffraction cutoff frequency is the point at which additional sharpness is impossible for a given aperture, and this is indeed a function of the lens and physical aperture.
The formula for diffraction cutoff frequency for (perfect) optical systems is as follows:
fc = 1 / (λ * f#) cycles/mm
This states that the reciprocal of the wavelength of the light being focused multiplied by the f-number of the lens is the number of cycles per millimeter that can be resolved. The diffraction cutoff frequency is generally the point where resolution reaches the wavelength of the frequencies of light itself. For visible light, λ between 380-750nm, or 0.38-0.75 microns. Until the cutoff frequency has been met for a given aperture, more resolution can be achieved.
Visual Examples
Whubers sequence of images above is a decent example of the effect of diffraction, as well as the effect of optical aberrations when the lens is wide open. I think it suffers a bit from some focus shift due to spherical aberration, so I have created an animated GIF that demonstrates the effects of changing the aperture of a Canon 50mm f/1.4 lens down from its widest aperture to its narrowest, in full stops.
(Note: The image is large, 3.8meg, so let it fully download to see the comparison of sharpness at each stop.) The image exhibits marked optical aberration when shot wide open, particularly Chromatic Aberration and some Spherical Aberration (there may be some slight purple fringing...I tried to get focus dead on.) Stopped down to f/2, CA is lessened considerably. From f/2.8 through f/8, sharpness is at its prime, with f/8 being ideal. At f/11, sharpness drops ever so slightly, due to diffraction. At f/16 and particularly f/22, diffraction visibly affects image sharpness. Note that even with diffraction blurring, f/22 is still considerably sharper than f/1.4 or f/2.
Think of a scene as comprised of many small discrete points of light. A lens is supposed to convert each point to another point at an appropriate place on the image. Diffraction causes every point to spread in a circular wave-like pattern, the Airy disk. The diameter of the disk is directly proportional to the f-number: that's the "diffraction limit."
As the f-number is increased from its minimum (a wide open lens), the light falling at a point on the image will come from a narrower region of the lens. That tends to make the image sharper. As the f-number is increased, the Airy disks get larger. At some point the two effects balance to make the sharpest image. This point is typically in the f/5.6 to f/8 range on SLR cameras. With smaller f-numbers, overall properties of the lens (its aberrations) take over to make a softer image. With larger f-numbers, the softness is dominated by the diffraction effect.
You can measure this reasonably well with your own lenses and no special equipment. Mount the camera on a tripod in front of a sharp, detailed, well-lit flat target having lots of contrast. (I used a page from a magazine; it worked fine.) Use your best settings: lowest ISO, proper exposure, mirror locked up, medium focal length for a zoom lens (or vary the focal length, too), middle distance, perfectly in focus, RAW format. Take a series of photos in which you vary only the f/stop and the exposure time (to keep the exposure constant). Look at the sequence of pictures at 100% on a good monitor: you will see where your camera's "sweet spot" is and you will see the effects of using wider or narrower apertures.
The following sequence is taken from a series for the Canon 85 mm f/1.8 lens, which is a pretty good one. From top to bottom are 100% crops (converted to high-quality JPEG for Web display) at f/1.8, 2.8, 5.6, 11, and 22. You can see the increasing effects of diffraction at f/11 and f/22 in the bottom two images. Note that for this particular lens used with this particular camera (EOS T2i, an APS-C sensor), the diffraction softness at high f-numbers doesn't approach the softness seen with the lens wide open. Having comparable information for your own lenses, which can be obtained in a few minutes, can be valuable for choosing exposure parameters in important photos.
Diffraction happens. It's a fact of life. When lenses are used wide open, other lens abberations are far too prominent for you to notice a minor sharpness loss due to diffraction. Stop down a little bit, and those abberations are minimised -- the lens seems to just get better and better. Diffraction is there, but you still don't really notice it because light that is not passing near the edges significantly outvotes the light that is passing getting a little too close to the aperture blades.
At some point while you are stopping the lens down, the gains you make by eliminating the optical differences between the center and outer parts of the lens elements starts to go away -- there is no longer enough crisply focused light to drown out the out-of-focus image caused by light bending around the edges of the optical path (diffraction). The lens isn't going to get any better when you stop down anymore -- too much light is being diffracted compared to the light that's getting through the middle. From this point on, stopping down will make the image softer.
The point at which the lens is stopped down as far as it can go without increasing softness is the diffraction limit. On some lenses, that's as far as you can stop down -- Nikon, for example, has traditionally kept a relatively wide minimum aperture (f/16) on many of their designs. On other lenses (macros, especially) you might still have a couple of stops or more available to you; depth of field considerations may be more important than absolute sharpness in some applications.
All of photography is a compromise. There may be times when you want to stop down farther than the optimum, but it helps to be aware of the compromises you're making. Stopping down is an easy answer to DOF, but if you're hooked on landscapes and taking them all at f/22 or f/32, it may be time to take a look at a tilt/shift lens.
While the answers already here describe diffraction well. Diffraction limit is most often used to describe the point at which stopping down your lens does not give you more details in relation to the pixel-size of your camera's sensor.
When you have reached the diffraction limit of your camera, ANY lens stopped beyond that aperture will give you softer results. It is directly related to the size of individual pixels, not the sensor size.
On modern DSLRs, the diffraction limit will be hit between F/11 and F/16. On cameras with small sensors, it may be F/8 or even less. You'll notice that most tiny cameras do not use apertures smaller than F/8 for this very reason. Some even use a fixed aperture (F/3.5 or so) and simulate less light coming in by slipping a ND filter instead of stopping-down. Unfortunately, they actually put the simulated F-stop in the EXIF, so you need to know the camera to realize it uses an ND filter rather than a normal aperture.
This page at the Cambridge In Color site has a detailed technical explanation of the diffraction limit. It's also got an on-line calculator for checking whether a particular combination of aperture, camera, print size, and viewing distance is diffraction-limited or not.
Short Answer…
The Diffraction Limit is the smallest spot a given lens system can create/resolve/focus.
Arm-waving: Lenses can focus light to a small spot but not a point. The spot size can vary with the wavelength, with short wavelengths forming smaller spot sizes than longer ones. When a very good, aberration-free (diffraction-limited) lens is used, collimated light will produce an airy disk as a spot at the focus. An airy disk is still the smallest spot that can be produced with that lens at that aperture with that wavelength (using collimated light). Larger apertures produce smaller spot sizes with tighter focus and reduced depth of focus than smaller apertures.
Note that you cannot produce an airy disk with a pictorial scene. Collimated light does not form an image.
Whoa, Stop right there: Larger numerical apertures produce smaller spots makes sense if you consider that in the formula, the aperture is used as a reciprocal value. Dispersion also plays a role here, too.


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Dunkin' Donuts announced the signing of a multiunit store development agreement with existing franchisee Sizzling Donuts for seven new restaurants in communities throughout northern Utah.
The first restaurant in the northern Utah area—consisting of communities north of Bountiful—is planned to open in 2013, with the remainder by 2020.
In 2012, Sizzling Platter formed the subsidiary Sizzling Donuts and signed multiunit franchise agreements to develop 36 new restaurants throughout Salt Lake City, Utah; Denver, Colorado; and El Paso, Texas, over the next several years.
Sizzling Donuts operates five Dunkin' Donuts restaurants in El Paso, and two more are under construction in the El Paso area. The group plans to open a total of eight additional units by the end of this year.
"We are excited to continue to expand Dunkin' Donuts' presence in Utah and play an important role in the daily lives of people who live, work, and visit here," says Mitchell Lowe, Sizzling Platter's general counsel and vice president of development. "We have a passion and loyalty for the brand, and look forward to opening many more Dunkin' Donuts restaurants throughout Utah in the years to come."
Dunkin' Donuts franchise opportunities in Utah are still available in Washington County. To drive its expansion efforts, Dunkin' Donuts has aligned its strategy to support the growth opportunities and consumer needs of individual markets. As a result, the company continues to expand with single and multiunit opportunities with no minimum unit requirements.
Building a solid network of stores within a market enables Dunkin' Donuts to invest in a distribution model that provides consistent, high-quality products that guests expect.
In an effort to keep the brand fresh and competitive, Dunkin' Donuts offers flexible concepts for any real estate format, including freestanding restaurants, end caps, in-line sites, gas and convenience, travel plazas, universities, and other retail environments.
"Our secret to success is our passionate franchisees, who provide a high level of customer service to our guests every day," says Grant Benson, CFE, vice president of development, Dunkin' Brands. "We believe these existing franchise partners will cultivate lasting customer relationships and become integral parts of their local communities."

subset: commoncrawl


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n this Sunday, April 1, 2012 photo, Free Syrian Army fighters are seen In a neighborhood of Damascus, Syria. Government and opposition forces clashed across Syria Monday as international envoy Kofi Annan prepared to brief the U.N. Security Council on the progress of his mission to ease the Syrian crisis. (AP Photo)
What to do in Syria? Western military intervention looks fraught with difficulties, but the situation on the ground is a humanitarian nightmare and is producing greater instability by the week. A recent trip to Turkey and Russia has persuaded me that there might be a path forward. The pressures on Bashar Assad's regime are real and mounting; it is running out of cash and now faces real military pressures from Turkey. These pressures could be heightened and combined with smart diplomacy, and they could push Assad out of power. But that would mean trying to work with the Russian government rather than attacking it.
The U.S. has been bashing Russia for shielding Assad, coddling an ally at the cost of human lives and arming the Syrian military. Some of this is true, some false, and much is exaggeration. But all is unhelpful if the goal is to oust Assad. Unless the U.S. intends to ask Iran for help, Russia is the only country with any influence with the Syrian regime.


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Karen Morrison's daughter Teagan once asked her to explain her career in "raising money." Though Teagan was half correct about her mother's occupation, Karen wanted to be sure the then 6-year-old understood there was much more to the job than met Teagan's eye.
"You have a life journey – beginning and an ending – everybody does; some short, long, medium," Morrison explained to her daughter, who is now 9. "If you have cancer on that life journey, whether it's early, in the middle or it ends your life, wherever it is, that portion of your life's journey is a tough portion. I get to help with that."
As CEO and president of Gilda's Club Louisville, Morrison shares in the triumph and tragedy of cancer, from celebrating birthday or end-of-chemotherapy parties to attending the funerals of former club members who lost their battle to the disease.
Recently commemorating its fifth birthday, Gilda's Club Louisville is a nonprofit whose mission is to create welcoming communities of free support for anyone living with cancer, along with his or her family and friends. The nonprofit is a branch of the national agency created in honor of comedian Gilda Radner, who died of ovarian cancer in 1989.
Coping with cancer and illness is all too close to Morrison, whose 16-year-old daughter Kinsey defeated three life-threatening illnesses as a child, after once being expected not to live past age 5. "After my experience with Kinsey, I wanted to work directly with families and benefit families who are going through what we had, because I knew how tough it was," said Morrison, who also has a daughter Jillian, 13. "There is no doubt, I would not be here if it weren't for Kinsey. She inspires me every day and she's definitely the reason for the work I do."
Prior to her current employer, Morrison worked with the American Cancer Society (ACS), but soon became involved with Gilda's Club after speaking with an employee of Brown-Forman. "(I) asked (the employee) for a gift for the American Cancer Society, and he said, 'Well let me think about it, (I) need to talk to my wife. She's gotten involved with this group of women who are trying to bring another non-profit to town. It's called Gilda's Club,'" Morrison recalled. "He called me a few days later and said he and his wife decided not to make a gift to the American Cancer Society but his wife wanted to meet me."
As they say, the rest is history. From Morrison's initial meeting about the new nonprofit, she began working in a consulting capacity about a year before Gilda's Club's red door opened to Louisville. "I was so drawn to the mission because it's so grassroots," she said of the organization, which keeps 100 percent of its money local. "Six local cancer survivors started it. They believe in it, they lived it. And I get to see the fruits of my labor every day. I get to be a part of that community. I get to celebrate the successes and the triumphs over this monster."
Since 2007, Morrison has witnessed rapid growth and transformation of the organization. "It was equally terrifying and exhilarating to sort of start from scratch and build something from the ground up," Morrison reminisced. "Our philosophy is we're going to have any policy and procedure that we need but not one bit more. Because we're just going to do what makes sense and we're going to be very efficient with the dollars to make sure they go where they should be going."
In the last five years, Gilda's Club Louisville has extended its hours of operation and expanded from two support groups to about 55, including a newly added pancreatic cancer networking group and blood cancer support group. The children's program has also been an essential component in helping kids cope with circumstances and challenges they may not fully understand at the time of a diagnosis.
Aside from learning how to successfully run a nonprofit, Morrison has also developed personally through her experiences with the many people, young and old, rich and poor, who come and go at Gilda's Club. "I think one of the most important things (I've learned is) to live with cancer is not a choice we make; how we live with it is a choice," said Morrison. "And I get to see people do that a lot of different ways. And the people who live with it well, who live with it with style, with courage, tend to stick around. The ones who live with it with anger and resentment, they don't feel quite as comfortable in this environment because that's not what we're about.
"I've also learned some incredible lessons about how dying is part of living. You can approach that whether it's weeks away or decades away with courage and conviction and still inspire and teach lessons along the way."
Fundraising has been vital in sustaining the mission of Gilda's Club and continuing to offer the many monthly events and classes, such as yoga, cooking, art and writing, to individuals and families living with cancer. The organization's two main fundraisers are Night of a Thousand Laughs and Gilda's Night, which rotates venues between Rodes For Him & For Her and Bittners. This year's fundraiser will be held Friday, Nov. 9, at Bittners, 731 E. Main St.
"It's awe-inspiring and terrifying how reliant we are (on Gilda's Night)," Morrison said. "About a third of our income comes from this one night. We work on it all year round. I joke that we bow down to Gilda's Night because we couldn't do what we do without it being successful."
Gilda's Night will feature cocktails, a dinner and live auction, plus hundreds of attendees who have been affected in some way by cancer. "It's hard to find someone who hasn't been touched by cancer," Morrison said. "That's one thing about this mission. There are a lot of great nonprofits out there but this one, the reach is broad because half of all men and a third of all women will get a diagnosis in their lifetime. When you extend that to their friends and family, who are you leaving out?"
It's for this reason that Morrison wishes she could reach out to even more individuals. After seeing the incredible, positive impact Gilda's Club Louisville has had locally in the last half decade, she hopes more people will seek out the organization in years to come. "I think one of my greatest frustrations is that I know there are children and families, men, women and children out there who need us, who would benefit from us, and they don't even know we exist," she said. "We have a saying that you have to see it to get it. And I just wish it would be a requirement, every family who had cancer had to at least just come and see it. Just check it out."
For more information on Gilda's Club Louisville and Gilda's Night, visit www.gildasclublouisville.org.
Photos by CHRIS HUMPHREYS | The Voice-Tribune


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While doing a
do-release-upgrade (from 11.10 to 12.04), I accidentally hit
esc and noticed that this interrupted the download of the file being donwloaded at the time and then skipping to the next file. One of those files is coreutils, the other is lbssl1.0.0.
do-release-upgrade or
apt-get reattempt a download of those files before attempting the upgrade?
I presume the install script and software is robust enough to note the dependencies and to reattempt download of those files? The process is still ongoing as I type this.


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Issue Date:
December, 2001
Voucher programs in Milwaukee and Cleveland make front-page news in the December 2001 issue of School Reform News. The issue's "Just the Facts" feature provides a wealtth of state-by-state data on spending and student achievement. Education researcher David Campbell is this month's interviewee. (download pdf)
Newspaper Articles in this Issue
No matching newspaper articles


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Glad to be back. How about a vehicle badge on a users preference, such as dodge, scion, toyot,a ford, chevy, whatev. it'd be interesting to see what gamers drive, and easy to incorporate a vehicle emblem on a badge.
Glad to be back. How about a vehicle badge on a users preference, such as dodge, scion, toyot,a ford, chevy, whatev. it'd be interesting to see what gamers drive, and easy to incorporate a vehicle emblem on a badge.
Well in that case I suggest a numbered badge to show penis length. It will be interesting to see penis lengths gamers have and easy to get them all to post proof.
I second the penis badge notion.
Cars are stupid.
I demand a Bus Badge because I take public transportation every day.
No hat badges, because I know it's coming.
How about a badge for suggesting truly horrible badge ideas?
How about a badge hat?
Also, what was the final pick for the Seacrest Santa badge art?
I think it was Santa riding a reindeer into battle while beating off a hobo.
That was a few pages back, noobspoon posted it.
I think the hat badge should live, and if possible be automatically applied to banned users only. Because I want to know if Sam is willing to sacrifice everything* for it.
*he has posted on the forum
Penis length badge is a no-brainer.
But not a no-boner.
On the topic of badges that involve sex organs, I proposed this in the wrong forum, so I'm just going put this out there. I had an idea for a transgender pride badge (and made one ), but I was thinking maybe a badge for anyone in the queer spectrum who is out and proud.
We're trying to keep new badges limited to Dtoid site/community related stuff. Over the years we've built up a lot of badges, so we have to be extra choosy with the ones we add so it doesn't become too difficult to manage them all.
There's also the issue of it being a badge not everyone can potentially earn, due to it being based on how one was born. Beard & Classy Ladies were created by Techno back at the beginning, so they've been grandfathered in. Today, I probably wouldn't do either of those again. Being out and proud is totally something to celebrate, but going to have to pass on doing it with a badge. Sorry!
He basically means that he doesn't want to admit our relationship.
He still has his family convinced that i'm just a stalker.


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Being outside in the hot, sunny weather is fun – who doesn't love summer vacation! But, when you're outdoors, even for short periods of time, the sun can be very damaging to your skin. Sunburns can cause skin damage and increase your chances of developing skin cancer. There's nothing wrong with spending time in the sun, as long as you take measures to protect your skin.
1. Stay indoors during the middle part of the day. Sun rays are the strongest between 10 a.m. and 4 p.m. Plan outdoor activities such as yard work and exercise early in the mornings, or during the evening hours to prevent sunburns.
2. Check your medications. Certain medications (such as antibiotics and immunosuppressant drugs like methotrexate) have side effects that make the skin sensitive to sunlight and more prone to burns. Review the informational document that accompanies prescription drugs to see if you need to limit exposure to sunlight while taking the drug.
3. Purchase sunglasses with UV protection. Ultraviolent rays can damage eyes and burn lips. Wear protective glasses and apply lip balm with SPF protection.
4 . Apply sunscreen. Use an organic sunscreen (with at least an SPF of 20) to exposed skin before going outdoors. According to Medline Plus, reapply every two hours to continue protection.
5. Accessorize with a hat. Along with sunscreen, wear a hat for added protection when you plan to spend an extended amount of time outdoors.


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COAD volunteers
honored at event
Volunteers in the Corporation for Ohio Appalachian Development Foster Grandparent and Senior Companion Programs in Harrison, Jefferson, Belmont, Carroll, Columbiana and Tuscarawas counties were honored at a luncheon at the Belmont College campus in early August.
"In the summer, when schools are closed, some volunteers help out in local libraries with reading programs, some take off to visit family and friends and some attend classes at Belmont College, working toward their associate degree in early child care," said Kirk Guisti, area 1 coordinator.
"The COAD has partnered with Belmont College for 19 years, offering classes to volunteers. They attend classes seven to eight weeks per year in various subjects. It would take about 15 years of summers to accomplish the required credit hours," he said.
"The volunteers do not do this to get a job, but to improve upon themselves and for personal achievement," Guisit said.
"You can see that they truly acknowledge the fact that you are never too old to learn," he said.
Attending the classes were Thelma Bolitho of Harrrison County, Diana Cook and Bonnie Bruce of Carroll County and Susan Andears of Belmont County.
The Foster Grandparent Program recruits and places seniors 55 and older into educational facilities to assist the teaching staff with children who are having learning difficulties. They work with three to five children per volunteer, giving one-on-one attention under the direction of the teacher.
The COAD group has sponsored the program for 40 years in Area 1, and it has had a long line of successes with helping children, it was noted.
The Senior Companion Program recruits seniors 55 and older to go into the homes of other seniors 60 and over or disabled adults 21 and over to assist them with small daily living tasks so they are able to remain in their own homes. This program has been offered in the area for 38 years with great success, according to Guisti.
Both programs are free to the recipients, and volunteers are low income and receive a stipend and mileage reimbursement for their time.
For information on the programs, contact Guisti, area 1 coordinator, at (330) 987-7232 or (740) 942-8886, extension 205. By mail it is P.O. Box 176, Cadiz OH 43907 or e-mail to firstname.lastname@example.com. The website is www.coadinc.org.
Dart league to begin Sept. 19
P.T. Duffy, Weirton Elks Lodge 1801 Dart League chair, announced a players' meeting will be held at 7 p.m. Sept. 12 at the lodge.
The first league games will begin at 7 p.m. Sept. 19 and be held every Wednesday thereafter. A sign-up sheet for members and guests interested in joining the league is available at the lodge.
For information, call the lodge at (304) 748-0565.
'The Pirates: Band of Misfits' Sept. 8
The Brooke County Public Library will be showing the animated film "The Pirates: Band of Misfits," rated PG, on Sept. 8 at 11 a.m.
The movie involves the Pirate Captain, who sets out on a mission to defeat his rivals Black Bellamy and Cutlass Liz for the Pirate of the Year Award. Call (304) 737-1551 to reserve a seat and popcorn.


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In today's installment of Speak Up on Kotaku, commenter Vlyke615 wonders what strange gaming habits we've developed over the years. It's sharing time!
Any of you that played games as a kid have a habit you still do to this day while playing any game? This one in particular is just with racing but I still do it to this day. Not sure if it's out of habit while growing up or just the mind trying to "Trick" you into thinking that it'll actually work.
Last night I decided to play Mario Kart on my SNES. I popped the cartridge in, turned on the system, grabbed the controller and waited as the game was loading up. Nostalgia was kicking in reminding me of the times my brother and I would play this almost every day in the mid 90's. He'd always choose Yoshi, and I the Princess and we would usually play the Grand Prix. I enjoyed the GP due to you can help your friends out get ahead of the AI but at the same time do what you can to maintain first place. I press start, selected one of my favorite tracks Bowser's Castle 1, and selected Princess. Ready to press the button for the speed boost I was off. It wasn't until half way through the first lap round the corner after the first three jumps I realized that I was also turning the controller as if it were a steering wheel. I chuckled remembering that as a kid I would think that this would somehow help my character take corners better and improve my time. Seeing how I even did it yesterday, close to 15 years after its release, I must have done it with other racing games too.


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Amazing Johnathan (Cancelled)Thu, December 27, 2012 - 10:00 PMWindows at Ballys Las Vegas in Las Vegas, NV
We are sorry, the date for this event has already passed. This event took place on 12/27/2012. Click here to view upcoming events for Amazing Johnathan.
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Have a question? Need help? Call us at 800.477.5285


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With the 50th anniversary of the march on Washington, which spelled a breakthrough for civil rights we need to remember that it was not just African-Americans who were fighting for improvements to their lives. Yes, it was primarily through their efforts and sacrifices that finally created change, such as eliminating the Jim Crow laws of the South. They were, therefore given a lot of attention; and, rightfully so.
Because of the efforts and sacrifices of those involved, Congress passed a law the following year prohibiting discrimination on the basis of an individual's race, color, religion, sex or national origin. The EEOC (Equal Employment Opportunity Commission) was established in 1964, putting a bit more power behind the law. Doors slowly, often reluctantly, began to open for people of color, women and a labor force who were all too often used to being viewed as the hired help, and therefore not worth noticing (unless they stepped out of their "place," in which case they were reminded exactly where they belonged).
My question is have the goals of equal rights, pay and respect that were paid for with the blood, sweat, brilliant negotiations and other efforts prior to and after the march truly been met? After reading the article "What We've Learned", in the USA Weekend insert written by Taylor Branch that was included in two of our local papers last weekend (8/16/2013), I have my doubts. These doubts stem in part because neither paper mentioned one word about this significant anniversary. Instead, the front page news included changes in city ordinances regarding fireworks and notice of a free outdoor movie being hosted by a local church.
I believe that as a nation, we have yet to meet the goals set during the '60s. We have only to see the views that were expressed in the Trevon Martin case to see we remain a people with deep divisions. On the other hand, like his politics or not, we have a president of mixed race who would never have had the opportunities he has had, without our making some progress. Marches continue to be made in Washington and around the country as people still fight for labor and equal rights issues.
Ignorance is the basis for most all prejudices, although there are darker elements of hate-filled groups who would destroy anything or anyone that does not fit their model of who is fit to live as a human being. Our world grows ever smaller. If our children are to survive, we must make a concerted effort to educate and prepare them for an ever more complex, multi-cultural world. We have only to watch the events in the Middle East to see an example of how terrible it can be when small groups threaten other groups who do not meet their ideals, thereby reaping terror on innocents.
Page 2 of 2 - Understanding that readership and finances may place limitations on our smaller local papers, reporting on national events is as important as it ever was, as you can be assured these events will most definitely effect those of us who live in rural America, as well as urban areas.
Terry Brown
Location, ST | website.com


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The first baby of 2014 to be born at Carson Health made his entrance into the world on Jan. 1 at 6:38 in the morning. Levi and Samantha Peters of Ithaca, Mich., are the proud parents of a beautiful baby boy, Samuel Colton Peters.
Samuel weighed in at 7 pounds, 12 ounces and measured 19 inches long. Carson Health was thrilled to present the Peters family with a basket full of baby items, clothing, and toys donated by Carson Health associates.
"Samuel arrived a week early and I can't think of a better way to start the New Year," said mother, Samantha Peters. Samuel is the third child in the Peters family and will be joining big brother Jordan and big sister Brylee at home.
Samuel was delivered by Dr. Ruth Bruce of the Center for Women's Health Care at Carson City Hospital. For more information about Carson Health, please visit online at CarsonHealth.org.
Location, ST | website.com


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Your scaredest moment
Enough of the serious stuff. Trolling around the TV channels this evening, I discover the original Alien movie, with Sigourney Weaver. And I remember that, twenty years or so ago, also trolling around the TV channels I came upon the movie about which I knew nothing. I was immediately engrossed, and, quite unexpectedly,found myself terrified at the appropriate moments, so that at one point I felt like I was back, once againa terrified pre-teen boy in the Nyack movie theatre, saying silently to myself: "Its only a movie! Its only a movie!"So now that Ive bared my soul or psyche, tell me what was your scaredest moments at the movies, either as a child or as an adult. Books can come later.
About the Author
Rev. Joseph A. Komonchak, professor emeritus of the School of Theology and Religious Studies at the Catholic University of America, is a retired priest of the Archdiocese of New York.
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I walked out of the first LOTR after maybe 15 minutes, when the black riders were standing over the hobbits on the road. Terrific, and terrfying, sound editing!
I remember being perfectly terrified by the witch in the Disney version of Snow White and the Seven Dwarfs. That when I was very young, because I remember trying to get under the seat in the theater. (I remember reading that some of the great classic children's films are the most psychologically damaging to kids, among them Dumbo and Bambi.)In college I went off one night to see a showing of Psycho, which I basically knew nothing about. It was in an almost empty auditorium. I don't really remember my reaction to the shower scene, but when Vera Miles (I think it is) comes up behind mom's chair and turns it around, I gasped (literally). As an adult, I was scared out of my wits by The Exorcist. I had been in a very long line to see the movie at a theater, but I gave up because the wait was too long. I watched it on television, with my finger on the off button a great deal of the time in case I couldn't stand it, and was grateful not to have seen it in a theater.
Two movies that I watched on T.V.The Creature from the Black Lagoon -- watched it when I was rather young and I can still remember the scene of the creature underwater looking up as the starlet swims.The Exorcist -- no explanation neededMovie theatre = JawsKathy, did you ever eventually watch the movies? All three are quite good.
Psycho 1960.. all movies before that were not too scary monster flicks.. Shower scene and detective stabbed on stairs were enough to for us[wife] to change our seats that had our backs on a cross over aisle where people could come up to behind us.Also, entering an occupied bathroom with a towel over our heads was a continuing tease.
Yes, I've seen them, bought them, w/tched the extended versions on free online netflix. But that day I was freakin! It was pretty loud...
Movie = Open WaterBased on a true story of an American couple diving on the Great Barrier Reef, a couple is left behind by the dive boat during a scuba outing. The sharks were scary enough, but the couple's fear and anguish at being left alone in the ocean was even scarier IMO.TV = Bill O'ReillyAny Monday through Friday evening.
When "The Wizard of Oz" was first shown on television, we must have had fifteen nieces and nephews in the living room watching it, while we adults sat chatting in the dining room. I remember some of the younger ones coming in and huddling next to their mothers, frightened by the cackling wicked witch.
The original Invasion of the Body Snatchers. On TV, I recently heard our new AG call America "...a nation of cowards". This man is a serious hater; that scares the hell out of me.
The original "Phantom of the opera". I lived in a city tenament type building and wouldn't go in our cellar for years after seeing that movie. I must have been 10 or younger when i saw it.
Bob: He said we are cowards when it comes to talking about race. That may still scare you, but at least be clear.
Just remembered another one. I'm in grammar school watching "Heidi," and I have a clear memory of Gene Hersholt sharpening a knife that I was sure he was going to use on Shirley Temple.
So Joe, what was most frightening? That he would use it? Or he wouldn't? Aliens--children were taken by their father to see it. They all loved it and found it horrifying. And then there was Aliens II, which I took myself to see... what was worse? the alien? or the apparent human with the robot head? I think some children love to be horrified. Some not so much. I had a friend who thought Bambi was absolutely horrifying. Mom killed. Also Babar. Mom killed. I didn't notice with Bambi as a child. But watching Babar with the grandchildren, I was horrified for them. Very complicated what is scarey... Definitely the pod people in "Invasion of the Body Snatchers." It made you wonder about so many people on the street, subway, etc...
"Bambi" didn't frighten me. Maybe because my father went deer-hunting every Fall?
Sophomore year in high school - boarding school. In the middle of a huge lighting/thunderstorm, a few of us were watching Hush, Hush, Sweet Charlotte - the scene where the "supposed" murder victim's head rolls down the winding staircase of the antebellum home. We all screamed and at the same time there was a huge lightening strike and thunder burst right outside the window of the TV room.
No movie could possibly be scarier than watching BXVI take us back to 1954.
When I was a little kid I saw Attack of the Crab Monsters on tv and it really scared me. I rented it a wahile ago and it cracked me up because it was so silly :)As an adult, The Prophecy, with Christopher Walken as the (evil) archangel Gabriel was pretty scary. Also frightening - Zodiac.
Robert Mitchum chasing the kiddies around in "Night of the Hunter."I was horrified by the "Exorcist," not in a frightened way, but thinking how Linda Blair wouldn't be scarred for life playing the possessed little girl.Pleasantly surprised by LOTR. Sure beat reading those damn books.
I saw "Bambi" in the theater as a child, and recall flames more than the fatal gunshot. Now that I have a 3-year-old in the house, that and other Disney classics I never saw are flooding in. I foolishly let her watch Bambi, in trepidation: she didn't get the deadly scene, kind of smiled, and now has lost interest. I'll bring it back out in a few years time. Meanwhile, we let her watch Peter Pan and Alice in Wonderland and Dumbo, all of which she loves and which I found horrifying, for various reasons. They've been banned. She of course keeps asking for them.Scaredest? "Jaws," in the theater. Think about it every time I go near the ocean. Alien is a close second. It is a beautiful homage to Chiller Thrillers. Then again, I retain a fondness for Abbott and Costello meets Frankesnstein & Co.
"Diabolique," where the allegedly murdered (? dead, anyway) man starts raising himself out of the bathtub.
Seeing Silence of the Lambs as a teenager.
Enough of the serious stuff!
BTW, in searching for "Jaws" info I came across this post from last year by Beliefnet's Movie Mom, Nell Minow, discussing scary movies and the difference between scary and gory and horrifying. Apologies for the seriousness:http://blog.beliefnet.com/moviemom/2008/01/why-and-how-do-we-like-to-be-...
So Joe, your dad shot Babmbi's mother? Horrifying!
Jean--The LOTR books were much, much better than the movies.And I'm sure you've heard that a previously unpublished book by Tolkien will be released in May. It's called "The Legend of Sigurd and Gudrun," and it is written in verse no less. Not only does the name of the book come tripping off the tongue, but I'm determined to get a copy of the book into your hands. :)Another scary movie I remembered: "The Shining," Kubrick's film with Jack Nicholson.
Not only that, Peggy; we ate her, too!
Lots of good calls made here already. David's right, it's the forest fire in Bambi that did it to me. In Wizard of Oz, the Wicked Witch was scary, but the thing that really got me was that testy apple tree with the basso profundo.I saw a Godzilla movie on television when I was 5 or 6 that scared the #$%^&* out of me. I kept looking in the backyard to see if there were giant red lizard legs stamping through the neighborhood.Saw Poltergeist in the theater when it was in first-run - believe I was in college. Spent quite a bit of the movie saying "Oh shucks", sort of.
Which is the worse sin, Margaret's wisecrack about Shirley Temple, or my laughing at it?!
William mentions The Shining. There are two moments I remember. One is Shelley Duvall locked in the bathroom with Jack Nicholson hacking his way in with an ax. It's terrifying. The other is more psychological (and earlier in the film) when Duvall discovers that Jack Nicholson, who is supposed to be finishing work on a novel, has actually been typing, again and again, for page after page, "All work and no play makes Jack a dull boy."There was a shocking moment in Hitchcock's The Birds when Jessica Tandy ventures into the house where the first really major bird attack has taken place. She rounds a corner to see someone lying all bloodied on the floor, and the camera zooms to a close-up of the man's face, whose eyes have been pecked out by the birds. If you've only seen the movie on television, you have probably never seen the closeup, since it is always cut. Nobody has mentioned Roman Polanski's film Repulsion, which was intensely disturbing, with some very frightening moments. There is a scene in which Catherine Deneuve is going down a hallway, and suddenly a great many human arms shoot out of the walls and grasp at her. I also remember when she reaches for a light switch and the wall it is on cracks and breaks.
I guess I was one among many driven under the seat by the Witch in The Wizard of Oz, but the scene that drove me there the one where she gave Toto to the Flying monkeys. And Heidi gave me nightmares for a long time, about a coach being driven down a road terribly fast, and away from home.
The ghosts of the two murdered little girls in the hallway in The Shining still really creep me out after all of these years. On the other hand, any movie that has children getting killed in it really upsets me. So for example I would include the scene in the Latin American movie The Green Wall where the little boy runs across the screen with the poisonous snake hanging off his leg as one that has haunted me for 30 years.
I would say "The Blair Witch Project " (1999) and "The Ring" (2002) - the former, in retrospect, is probably overated, the later, underrated. "The LOTR books were much, much better than the movies."Very true, but, despite its flaws, I do have to say the movies were just about as perfect as a film adaption could be.
Yeah, "The Shining" scared me, too. Forgot about that one. Those two creepy little girls. I wasn't afraid of "The Blair Witch" project at the time. But not long after that, we went camping Up North out in the middle of nowhere, and I had to walk through the dead dark woods to the privy in the middle of the night, and the image of those stick dolls in the trees came back to me. Very creepy.Please, William C., don't trouble about the book. Verse, dear Lord, spare me. I'd rather have a copy of Fritz Lang's silent version of "Siegfried" and "Kriemhild's Revenge." When I was stuck in bed during the early part of my pregnancy, I watched those several times. Possibly explaining my kid's fascination with dragons ...
Les Diaboliques is pretty scary if you're watching it in a darkened theater. That's obviously true of most scary movies but more so of this one, since you really need to turn off your rational side to get the full effect. Naturally, that's a lot easier when you're in a theater with a lot of other scared people.Speaking of that reminds me of the movies that are intentionally both scary and funny, such as Gremlins, Gremlins II and "The Howling".
It's a good thing that when I saw The Exorcist I was close to the restroom! I was too old for the possibility of being embarrassed that way.
Remember "The Sixth Sense," not so much scarey as totally weird and surprising--except for when the boy turns and points to the people hanging by a rope from the past. I jumped out of the seat. Was I surprised? Was I scared?Killed and ate Bambi's mom? Joe! What were you thinking of?
Even as I write, I have venison in my freezer--Bambi's Mom, Dad, brother? Who knows? I've served venison to guests, but I admit that I've usually not told them what they were eating until they had finished.
In Michigan, we can't afford to anthropomorphize deer. They have overrun the place, are road hazards, decimate crops, and spread bovine tuberculosis in dairy herds. A clean kill by a hunter who is actually going to eat the mat is a far better use of these creatures than their slow starvation, or maiming by a car. Or the horrors of the commercial stock yard, come to that,(Ted Nugent aside).I've enjoyed many venison dishes provided by grandfathers, uncles and past boyfriends. It is flavorful, lower in fat and cholesterol than corn-fed beef. "Bambi" ignores the fact that does cannot be legally hunted until late fall, when their fawns are old enough to take care of themselves.
I agree with MAT that "The Ring" is an underrated, seriously scary movie. Also, Danny Boyle's "28 Days Later" scared the bejeezus out of me, and is particularly good if you ignore the happy ending that was done for theatrical release and watch the original downer ending that is included on the DVD. The sequel, "28 Weeks Later" is, alas, a complete waste of time. It's one of those "scary" movies where characters consistently make the stupidest decisions possible.
Venison in the freezer!Now we are getting to what really scared me when I was young -- the Twilight Zone, Outer Limits, and the Alfred Hitchcock Show.The last had lamb in the freezer. As detectives puzzle over the bludgeoning death of a man, his perfect 50s housewife offers them some of the roast that had just come out of her Amana Radarange. But you knew it had come from her Frigidaire, where it had been frozen solid, as hard as any club could be. Knowing the evil lurked behind the cheery face, so like the faces so happy in all those comercials.I later learned the episode was based on a story by Roald Dahl, who obviously had some insight into what scares children.
Jim, thanks for those happy memories! The Amana Radar Range! "The Twilight Zone"! And the beginning of Hitch's show, where he'd walk into his own silhouette and turn to the camera and say "Good ev-en-ing" in that adenoidal voice.In keeping with the scary food theme, I have to say that my brother and I laughed out loud at the climax of the Twilight Zone, "To Serve Man." "It's a COOKBOOK!!" Almost as hilarious as Charlton Heston at the end of "Soylent Green" screaming "It's PEOPLE!"


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MARTINS FERRY - Often times how a team regroups and rebounds from its first setback speaks volumes for the type of squad it is.
The Purple Riders passed their post-loss test with flying colors inside the Dave Bruney Football Complex Friday night.
Using their vaunted running game and an opportunistic defense, the Purple Riders (4-1) ran by invading Harrison Central (2-3) for a convincing 42-14 victory, allowing for a happy homecoming.
Article Photos
T-L?Photo/JOE LOVELL
MARTINS?FERRY'S Arjay Burress tries to shed Harrison?Central's Cyle Riedel during Friday's game. Burress ran for 256 yards and three touchdowns. Additional images may be found at cu.timesleaderonline.om
"It's really great to get this win," Purple Riders' head coach Dave Bruney said. "It's great for our seniors and all of our kids."
The Riders, who lost to St. Clairsville last week, don't have that one go-to-guy on offense. Bruney and his offensive staff have a bevy of options and they've utilized all of them in the first half of the season.
That was something that Harrison Central head coach Justin Kropka cautioned his team about all week.
Earlier in the season, big games have come from Marcus Sutton, Bruce Burger or Brian Styles. All three were factors again on Friday, but it was Arjay Burress' chance to be the workhorse.
He responded just the way Bruney thought he would.
"Tonight was Arjay's night," Bruney said. "That didn't happen without great offensive line play and without great fullback play by Bruce Burger and Bryce Coleman."
Burress only got his hands on the ball 15 times, but he scored on three of those carries on plays of 53, 39 and 73 yards. All told, he finished with 256 yards. For good measure, he was also perfect on all six of his PAT kicks.
"Arjay's a strong kid, has great balance and good feet," Bruney said. "We're tickled to death and fortunate to have the stable of backs that we have."
On those touchdown runs, Burress showed speed and power. He broke several would-be Huskies' tacklers en route to paydirt.
"The downside of the defense we're going with right now is that you have to make tackles," Kropka said. "If you don't tackle (well), they'll make you pay. For the most part, I thought we tackled pretty well, but a few plays here and there and that's all it takes against a good team."
The Purple Riders owned a 21-7 lead at halftime. They scored on a 10-yard run by Burger and then answered a David Miser-to-Nate Olmstead 72-yard pitch-and-catch with the first Burress score and Styles, who shifted to quarterback this week, scampered around the left end from 5 yards out.
Harrison Central made it a 21-14 game when Miser found Dalton Rutter for a 16-yard touchdown. Geoff Pecar was perfect on his second PAT of the contest.
The Huskies' scoring drive utilized just 91 seconds of the third quarter despite it taking 11 plays.
That was evidently the wake-up call the Riders' needed because they seemingly cranked it up several notches from that point on.
"We challenged our offensive line to step up this week and they did a heck of a job," Bruney said of Luke Straub, Nick Bain, Brian Sadosky, Cody Beavers, Mark Douglas and tight end Robert Vargo. "They certainly did, and I thought Brian Styles, who is an electric player, did a great job of running our offense."
The Purple Riders didn't throw a pass in the second half of the game. Burress capped the drive to answer the Huskies' touchdown. After a quick three-and-out, Burress did the work himself on the one-play march.
"They made a couple of nice offensive adjustments," Kropka said. "We changed a scheme back, but we were getting cut off at certain points up front. They did a couple of nice things scheme wise and their kids took advantage of it."
Capitalizing on the Riders' fifth takeaway of the game, which was an interception by Straub, Ferry capped its scoring when Styles carried out a beautiful fake and went in untouched from 2 yards out.
The Huskies' ground game was basically non-existent. Travis Stenson, who was injured last week, gave it a go, but didn't have much success.
"We thought if we could get a little bit of pressure and get close to him, we'd have a chance to force some turnovers," Bruney said. "I'll say this, 'he's got a short memory because he throws it in there.' He's a good quarterback and I know they were a little shorthanded."
Miser completed 13-of-36 passes for 229 yards. He threw the two touchdowns, but he was picked off four times. On top of Straub, Ferry defensive backs Jack Fitch, Styles and Andrew Watts all pilfered passes.
"We knew we were kind of limited (offensively)," Kropka said. "We knew coming in we'd have to throw the ball. A couple of times we had chances, but we dropped the ball. That'll happen with young kids. The stats aren't going to look like it, but I thought David Miser played one of his best games."
Olmstead caught five balls for 135 yards. Rutter made six receptions for 73 yards.
Complementing Burress carrying the ball for the Riders was Sutton (12-69) and Styles (14-59).
The Riders will begin the second half of the season with their first road game of the campaign. They'll visit 3-2 Union Local on Friday. Harrison Central, meanwhile, returns to Belmont County to take on 5-0 St. Clairsville.
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