title: The Jets (Minnesota band)

text: The original members of the Jets had a number of "Billboard" Hot 100 hits, five of which reached the top ten, including the 1986 single "Crush on You", which peaked at No. 3 in July 1986 (No. 5 UK, No. 4 US R&B, No. 4 US Dance). They are also known for the singles "You Got It All", "Cross My Broken Heart", "Rocket 2 U" and "Make It Real". "Sendin' All My Love", which peaked at No. 88 on the Hot 100, reached No. 1 on the "Billboard" dance chart. "You Got It All" and "Make It Real", both ballads featuring lead vocals by Elizabeth Wolfgramm, were No. 1 hits on the "Billboard" adult contemporary chart. The band was nominated for a Grammy Award in 1988 for the song "Rocket 2 U" that featured lead vocals by Haini Wolfgramm. The Jets also performed the theme song for "" in 1989.


title: The Jets (Minnesota band)

text: The group performed "The Star-Spangled Banner" at the seventh game of the 1987 World Series, held in their hometown of Minneapolis, and at Game 3 of the 1991 Stanley Cup Finals in suburban Bloomington. The band also performed at the 1988 Summer Olympics in Seoul, South Korea and the 2002 Winter Olympics in Salt Lake City, Utah.


title: The Jets (Minnesota band)

text: In 1988, Eugene Wolfgramm and Joe Pasquale formed the duo Boys Club, which recorded for MCA Records. Boys Club released the song "I Remember Holding You", which reached No. 8 on the Hot 100. Eugene later reunited for the album "The Best of the Jets" (1990), but he and other siblings (Eddie, Elizabeth, Kathi) eventually left the band in succession. The band was also featured on the soundtrack for "The Disney Afternoon", on which they performed the "" theme song. They also appeared on the soundtracks for "Burglar" (1987) ("Tough Guys"), "Beverly Hills Cop II" (1987) ("Cross My Broken Heart"), "The Karate Kid Part III" ("Under Any Moon") and "The Family Man" (2000) ("La La Means I Love You").


title: The Jets (Minnesota band)

text: American pop singer Britney Spears recorded a new version of "You Got It All" in 1997, which appears on international editions of her 2000 album "Oops!... I Did It Again". Musical artists Arnee Hidalgo, Pinay and MYMP have also covered the song. "Crush on You" is featured as the base sample for the French house anthem "Intro" by Alan Braxe and Fred Falke (2000).


title: The Jets (Minnesota band)

text: Pop singer Aaron Carter included "Crush on You" on his first album, which became a top-10 single in Australia, Germany and the United Kingdom in 1997. Singer Nayobe recorded a version of "Make It Real" that became a hit in Latin America. Exposé recorded a version of "The Same Love" on their 1992 self-titled album. More recently, the UK electronic music act Nero sampled "Crush on You" on their 2011 track of the same name.


title: Raw Power

text: Raw Power is the third studio album by American rock band the Stooges (credited as Iggy and the Stooges), released on February 7, 1973 by Columbia Records. The album departed from the "groove-ridden, feel-based songs" of the band's first two records in favor of a more anthemic hard rock approach inspired by new guitarist James Williamson, who co-wrote the album's eight songs with singer Iggy Pop. Though not initially commercially successful, "Raw Power" gained a cult following in the years following its release and, like its predecessors "The Stooges" (1969) and "Fun House" (1970), is considered a forerunner of punk rock.


title: Raw Power

text: "The Guardian" wrote that "it has since been acknowledged as one of the most influential records in rock history". The raw guitar sound of Williamson deeply influenced acts of different music genres such as the Sex Pistols, Johnny Marr of the Smiths and Kurt Cobain of Nirvana.


title: Raw Power

text: After their first two albums "The Stooges" (1969) and "Fun House" (1970) were released to little commercial success, the Stooges were in disarray: the band had officially broken up, bassist Dave Alexander was fighting alcoholism, and singer Iggy Pop's heroin addiction was escalating prior to the intervention of David Bowie. Pop later recalled, "very few people recognized the quality of the Stooges' songwriting, it was really meticulous. And to his credit, the only person I'd ever known of in print to notice it, among my peers of professional musicians, was Bowie. He noticed it right off." Having signed on as a solo artist to Columbia Records, Pop relocated to London, where he was to write and record an album with James Williamson, who served as the Stooges' second guitarist from late 1970 until the band's initial dissolution in July 1971. When they failed to find a suitable English rhythm section, Williamson suggested that former Stooges Ron Asheton and Scott Asheton fly over and participate in the recording sessions, leading to the band's reformation under the new name of "Iggy and the Stooges". Although he was the band's founding guitarist, the elder Asheton reluctantly agreed to switch to electric bass.


title: Raw Power

text: Initial demo sessions were held at RG Jones Studios in Wimbledon with sound engineer Gerry Kitchingham and at Olympic Studios in Barnes with sound engineer Keith Harwood, with most of the songs rejected by the band's management. Pop said that Columbia executives insisted on two ballads, one for each side of the album: "Gimme Danger" and "I Need Somebody". The album itself was recorded at CBS Studios in London with staff engineer Mike Ross-Trevor from September 10 to October 6, 1972. Pop produced and mixed the album by himself; unfortunately, his botched first attempt mixed most of the instruments into one stereo channel and the vocals into the other, with little regard for balance or tone quality. Tony Defries, the head of Bowie's management company MainMan, informed Pop that the album would be remixed by Bowie. Pop agreed to this, claiming that "the other choice was I wasn't going to get my album out. I think Defries told me that CBS refused to release it like that, I don't know", but insisted that his own mix for "Search and Destroy" be retained. Due to budgetary constraints, Bowie remixed the other seven songs in a single day at Los Angeles' Western Sound Recorders in October 1972. Pop said of the production:


title: Raw Power

text: However when Morgan Neville's documentary film on "Raw Power" was released in 2010, they demonstrated that each individual instrument was indeed recorded on its own track on the original multi-track tapes, suggesting that Bowie was either mistaken or working with a copy that had mixed down the instruments on to the same track.


title: Raw Power

text: Low-fidelity copies of Pop's original mixes circulated among fans for years. In 1993, a selection of these original mixes was released by Bomp Records as "Rough Power". Fans and critics generally agreed that the original mixes were interesting, but not necessarily superior to Bowie's efforts. Of the "Rough Power" release, Pop has remarked that "what David and I came up with at these sessions was better than that."


title: Raw Power

text: In 1996, Columbia Records "invited" Pop to remix the entire album for re-release on CD. Pop said in the liner notes that had he declined, the studio would have remixed it without his blessing. Pop cited longtime encouragement from fans and peers, the existence of "Rough Power", his distaste for how the original 1989 CD release of "Raw Power" sounded, and the fact that Columbia would release the new mix on its subsidiary Legacy Recordings as factors that led him to go through with the new mix, which was undertaken at New York's Sony Music Studios in 1996. The remixed edition was released on April 22, 1997. In the album's accompanying liner notes, Pop states the following:


title: Raw Power

text: On the other hand, some fans – among them guitarist Robert Quine – felt that the new remix was as unfaithful to the material as the original 1973 mix, and further criticized the audible distortion in the new mix. In the reissued CD's liner notes, however, Pop points out that one of his intentions in doing the new mix was to keep audio levels in the red (which would deliberately cause such distortion) while at the same time making the music more "powerful and listenable". This new version is arguably the "loudest album ever", reaching RMS of -4 dB, rare even by today's standards.


title: Raw Power

text: James Williamson and Ron Asheton have both stated that they prefer Bowie's original mix of the album over Pop's remixed version. Williamson stated:


title: Raw Power

text: In 2002, Bowie said that his original mix of "Raw Power" is "the version I still prefer over the later remix – it has more wound-up ferocity and chaos and, in my humble opinion, is a hallmark roots sound for what was later to become punk." Pop and Bowie's mixes were both remastered in 2012 for a Record Store Day double LP by Kevin Gray and Mark Wilder, respectively; this remastering was free of clipping.


title: Raw Power

text: "Raw Power" has often been classified as a proto-punk or garage rock album. According to Brett Callwood, it abandoned the "groove-ridden, feel-based songs" of the band's first two albums in favor of a more anthemic hard rock approach inspired by Williamson, who co-wrote the album's eight songs with Pop. Similarly, music critic Joe S. Harrington said that the hard rock album demonstrated a "totally overpowering" sound, "a sledgehammer attack of brutal ill will", while author Dave Thompson noted Pop's "nihilistic hard rock bellowing" throughout. In another analysis, "PopMatters" writer Iain Ellis said the album can be seen in retrospect as punk metal, while "Tucson Weekly"s Jarret Keene deemed it "garage-punk-metal" fusion.


title: Raw Power

text: "Raw Power" was released on February 7, 1973 under the moniker of "Iggy and the Stooges", in contrast to the band's first two albums, which were credited to "the Stooges". The cover is a photograph of Pop taken by rock music photographer Mick Rock. The songs "Search and Destroy" and "Shake Appeal" were both released as singles (the title track was released as a single in Japan only). According to Robert Hilburn, the album was "far too radical for the corporate-rock sensibilities of radio" in 1973, and as a result it only charted for three weeks on the Top 200, peaking at number 183. The group continued touring for about a year, but Columbia dropped their contract. The Stooges were also dumped by MainMan – Tony Defries lost patience with the band after the large sum of money he advanced to them was spent on drugs. The Stooges broke up in February 1974. After spending time in a drug-fueled stupor in L.A. – and later rehab at the UCLA Neuropsychiatric Institute – Pop re-joined Bowie's entourage, and emerged as a solo artist in 1976.


title: Raw Power

text: "Raw Power" received much praise from contemporary critics. Dave Marsh proclaimed that it was already "the best album of the '70s", as Pop had "summed everything up and it took him only nine songs to do it." Ben Edmunds from "Phonograph Record" called it "an experience so overpowering that it forces new definitions for even the most familiar things", arguing in March that it will undoubtedly be the album of the year. According to Lester Bangs, the "by-now banal words 'heavy metal' were invested for this group", while "the ferocious assertiveness of the lyrics is at once slightly absurd and indicative of a confused, violently defensive stance that's been a rock tradition from the beginning". In "Stereo Review", he called the album a "comeback of major proportions" and "monomaniacal fury so genuine" that it may be too overwhelming for listeners, concluding that, "whether you laugh at them or accept their chaotic rumble on its own terms, they're fascinating and authentic, the apotheosis of every parental nightmare." Reviewing "Raw Power" for "Rolling Stone", Lenny Kaye praised its uncompromising music and said, "for the first time, the Stooges have used the recording studio as more than a recapturing of their live show, and with David Bowie helping out in the mix, there is an ongoing swirl of sound that virtually drags you into the speakers". Longtime Stooges fans were less receptive to Bowie's mix for the original album; Robert Christgau later wrote of the original fan response, "first-generation Iggyphiles charged just as indignantly that David Bowie had mixed the real thing way too thin, before it was anointed the Platonic idea of rock and roll by desperate young men who didn't have much else to choose from".


title: Raw Power

text: Along with the Stooges' first two albums, "Raw Power" came to be regarded as an important proto-punk record in the years following its release. Writing of the album in retrospect, Will Hodgkinson believed that while the band's debut was "charged and brutal garage-rock" and "Fun House" was "lurid chaos", "Raw Power" was more musically sophisticated "in its debauchery". In "The Trouser Press Guide to New Wave Records", Scott Isler credited Williamson's writing contributions with providing more musicality and structure to the band's songs, whose lyrics conflated sex and death. He regarded the album as "heavy metal in every sense" and "another masterpiece" from the group. Greg Kot also believed "Raw Power" was "another masterpiece-more heavy metal than punk", with songs more "structured but no less forceful". Nick Kent said in 2010 that "Raw Power" remains "the greatest, meanest-eyed, coldest-blooded hard rock tour de force ever summoned up in a recording studio". Christgau was somewhat less impressed. In his 1981 book "", he praised Williamson's guitar playing while writing that the side-opening tracks "Search and Destroy" and the title song "voice the Iggy Pop ethos more insanely (and aggressively) than 'I Wanna Be Your Dog'", but felt that "the rest disperses in their wake" and that Bowie had mixed the record too thinly.


title: Raw Power

text: "Raw Power" has frequently appeared on professional listings of the greatest albums. "Pitchfork" named it the 83rd best album of the 1970s. In 2003, it was ranked number 125 on "Rolling Stone"s "The 500 Greatest Albums of All Time" list, and 128 in a 2012 revised list. Based on such rankings, the aggregate website Acclaimed Music lists "Raw Power" as the 99th most acclaimed album in history.


title: Raw Power

text: "Raw Power"s 1997 remix also received positive reviews. Writing that year in "Entertainment Weekly", David Browne believed it rectified "one of rock's most exciting, but worst-recorded, audio assaults", and found it "as collar grabbing as the Stooges' skin-scratching rage itself", improving upon past releases of the album, in which "the guitars were too loud, [and] the drums buried." Hilburn gave the remix a rave review in the "Los Angeles Times", writing that it "simply presents greater instrumental clarity and definition" than previous mixes and concluded, "It may have taken all these years to get the album right, but it has finally arrived." Tim Stegall from "The Austin Chronicle" said while the original mix "was so muted that it sounded like Vietnam being fought inside a Kleenex box", the remix is comparable to an atomic bombing and, "with its sonic gonads now fully restored, it can be further stated "Raw Power" is the single most dangerous rock & roll album ever made. Before or since." Christgau remained qualified in his praise. Reviewing the reissue in the "Village Voice", he said "the pumped bass and vocals Iggy has uncovered on the original tapes" to be a "quantum improvement" over the original mix, but still found fault with the slower songs, "which like all of Iggy's slow ones are not as good as his fast ones, stand between a statement of principle and a priceless work of art." Nonetheless, he ranked it as the ninth best reissue of the year in his list for the 1997 Pazz & Jop critics' poll.


title: Raw Power

text: According to "Pitchfork" journalist Stuart Berman, Pop's remix of "Raw Power" "horrified audiophiles with a distaste for digital distortion". Christgau observed, "strict constructionists and lo-fi snobs charge indignantly that by remixing his own album Iggy has made a mockery of history and done irreparable damage to a priceless work of art." In Berman's opinion, "after spending the past 13 years having my ears ravaged by the '97 Iggy mix, I find it difficult readjusting to the leaner, original version—even with the remastering, the '97 version far outstrips it in fidelity and sheer brute force, and remains a better entry point for younger listeners seeking to understand the album's impact."


title: Raw Power

text: "Raw Power" has been credited by many sources for pioneering punk rock, although "Paste" magazine's Lizzie Manno adds that it has "also been cited as a major influence on heavy metal and hard rock". According to Ted Maider of "Consequence of Sound", "Raw Power" is "by far the most important punk record ever", while "Diffuser.fm" writer James Stafford said, "One can make a reasonable argument for whether "Raw Power" or its predecessor, "Fun House", lays claim to 'first punk record' status." "DIY"s Jonathan Hatchman wrote, "Above all, the reason that "Raw Power" should be regarded as, at least, one of the greatest punk albums of all time, is the influence it has provided. Without it, punk may have never even happened."


title: Raw Power

text: Steve Jones from the Sex Pistols once claimed that he learned to play guitar by taking speed and playing along to "Raw Power". Johnny Marr of The Smiths cited it as his all-time favorite record: "It gave me a path to follow as a guitar player. It was an opening into a world of rock & roll, sleaze, sexuality, drugs, violence and danger. That's a hard combination to beat". He has also commented on James Williamson's guitar playing on the album: "I'm his biggest fan. He has the technical ability of Jimmy Page without being as studious, and the swagger of Keith Richards without being sloppy. He's both demonic and intellectual, almost how you would imagine Darth Vader to sound if he was in a band." Talking more about the album, Marr considered Iggy Pop "as the greatest rock'n'roll singer of all time". Thurston Moore of Sonic Youth said that it was one of the albums that shaped his life and music: "that record sliced my head off. The aggression and psychosexual imagery were really mysterious and alluring. In a way, it brought me into all those other aspects of music and literature that were really intriguing, like William S. Burroughs and the Beat Generation."


title: Raw Power

text: Singer and guitarist Kurt Cobain of the band Nirvana wrote in his "Journals" numerous times that "Raw Power" was his favorite album of all time. In his list of the top 50 albums he thought were most influential to Nirvana's sound entered in his journal in 1993, "Raw Power" appears in the number one slot. Henry Rollins of Black Flag has "Search & Destroy" tattooed across his shoulder blades. He has said that "Raw Power" is his second favorite Stooges album (after "Fun House"), calling it "America's greatest contribution to the hard rock scene", to compete with the "Stones, Zeppelins and the Deep Purples". Former Smiths frontman Morrissey once described "Search and Destroy" as "great" and "a very LA song". Mötley Crüe founder Nikki Sixx has cited it as a major influence: "When I was fifteen years old, I remember Iggy and the Stooges' song 'Search and Destroy' reaching out from my speakers to me like my own personal anthem." "I got into the heavier guitar stuff I was going through that adolescent anger thing. It’s a common story but mine was also fuelled by a father and a mother that were gone, and not really knowing where I fit into society. That song really connected with me". Guitarist John Frusciante of Red Hot Chili Peppers also praised the record: “when you think about all the ways bands these days try and expand rock and roll, most of them look pretty silly next to Raw Power. That is a definitive statement". CeeLo Green cited "Raw Power" as one of his favorite albums, stating that it "seems like it's all done in one take. 'Let's do that one, leave it, just try something else'. With his energy on stage, it seems as if the studio was just destroyed after that album – or at least you'd like to believe that".


title: Raw Power

text: The album's songs have been frequently covered. Prominent versions include the Dictators', Red Hot Chili Peppers', Dead Boys', Shotgun Messiah's, and Def Leppard's covers of "Search and Destroy", Guns N' Roses' cover of the title track on "The Spaghetti Incident?", and Ewan McGregor covering "Gimme Danger" for the film "Velvet Goldmine", which tells the story of a character based around David Bowie's Ziggy Stardust during the 1970s glam rock era. "Gimme Danger" was also covered by Pixies frontman Frank Black for the game "Ghost Recon Advanced Warfighter 2". A cover of "Search and Destroy" by Emanuel also appeared on the soundtrack to "Tony Hawk's American Wasteland". Additionally, a cover of the album's namesake track "Raw Power" was performed by Romeo Delta in "".


title: Raw Power

text: In May 2010, Pop, Williamson, Mike Watt, Scott Asheton, and Steve Mackay performed "Raw Power" in its entirety as part of the All Tomorrow's Parties-curated Don't Look Back series.


title: Raw Power

text: A remastered version of David Bowie's original mix along with a second disc of unreleased live tracks and soundchecks, including a live soundboard recording from Atlanta in October 1973, and liner notes written by Brian J. Bowe, was released in 2010. On April 13, 2010, a deluxe version titled "Raw Power: The Masters Edition" was released, consisting of three CDs, one DVD, one 7" vinyl record, a booklet, and a pack of photo prints.


title: Raw Power

text: "Raw Power" saw a limited vinyl re-release for Record Store Day on April 21, 2012. The release included two LPs (one containing the remastered 1973 Bowie mix and the other containing a remastered version of the 1997 Pop mix) and a sixteen-page commemorative booklet with quotes from the band, pictures of the band from photographer Mick Rock at their infamous King's Cross Cinema show in the summer of 1972, and written pieces by British journalist Kris Needs and rock 'n roll historian Brian J. Bowe.


title: Enlightenment (spiritual)

text: Used in a religious sense, enlightenment translates several Buddhist terms and concepts, most notably "bodhi", "kensho," and "satori". Related terms from Asian religions are "kaivalya" and "moksha" (liberation) in Hinduism, "Kevala Jnana" in Jainism, and "ushta" in Zoroastrianism.


title: Enlightenment (spiritual)

text: In Christianity, the word "enlightenment" is rarely used, except to refer to the Age of Enlightenment and its influence on Christianity. Roughly equivalent terms in Christianity may be illumination, kenosis, metanoia, revelation, salvation, theosis, and conversion.


title: Enlightenment (spiritual)

text: Perennialists and Universalists view enlightenment and mysticism as equivalent terms for religious or spiritual insight.


title: Enlightenment (spiritual)

text: The English term "enlightenment" is the western translation of the abstract noun "bodhi", the knowledge or wisdom, or awakened intellect, of a Buddha. The verbal root "budh-" means "to awaken," and its literal meaning is closer to "awakening." Although its most common usage is in the context of Buddhism, the term "buddhi" is also used in other Indian philosophies and traditions. The term "enlightenment" was popularised in the Western world through the 19th century translations of Max Müller. It has the western connotation of a sudden insight into a transcendental truth or reality.


title: Enlightenment (spiritual)

text: The term is also being used to translate several other Buddhist terms and concepts, which are used to denote insight ("prajna", "kensho" and "satori"); knowledge ("vidhya"); the "blowing out" ("Nirvana") of disturbing emotions and desires and the subsequent freedom or release ("vimutti"); and the attainment of Buddhahood, as exemplified by Gautama Buddha.


title: Enlightenment (spiritual)

text: What exactly constituted the Buddha's awakening is unknown. It may probably have involved the knowledge that liberation was attained by the combination of mindfulness and "dhyāna", applied to the understanding of the arising and ceasing of craving. The relation between "dhyana" and insight is a core problem in the study of Buddhism and is one of the fundamentals of Buddhist practice.


title: Enlightenment (spiritual)

text: In the western world the concept of spiritual enlightenment has become synonymous with self-realization and the true self and false self, being regarded as a substantial essence being covered over by social conditioning.


title: Enlightenment (spiritual)

text: In Indian religions "moksha" (Sanskrit: '; liberation) or "mukti" (Sanskrit: ; release —both from the root ' "to let loose, let go") is the final extrication of the soul or consciousness ("purusha") from "samsara" and the bringing to an end of all the suffering involved in being subject to the cycle of repeated death and rebirth (reincarnation).


title: Enlightenment (spiritual)

text: "Advaita Vedanta" (IAST '; Sanskrit: अद्वैत वेदान्त ) is a philosophical concept where followers seek liberation/release by recognizing identity of the Self (Atman) and the Whole (Brahman) through long preparation and training, usually under the guidance of a guru, that involves efforts such as knowledge of scriptures, renunciation of worldly activities, and inducement of direct identity experiences. Originating in India before 788 AD, Advaita Vedanta is widely considered the most influential and most dominant sub-school of the Vedānta (literally, "end or the goal of the Vedas", Sanskrit) school of Hindu philosophy. Other major sub-schools of Vedānta are ' and "Dvaita"; while the minor ones include Suddhadvaita, Dvaitadvaita and Achintya Bhedabheda.


title: Enlightenment (spiritual)

text: "Advaita" (literally, "non-duality") is a system of thought where "Advaita" refers to the identity of the Self ("Atman") and the Whole (Brahman). Recognition of this identity leads to liberation. Attaining this liberation supposedly takes a long preparation and training under the guidance of a guru, however Ramana Maharshi called his death experience akrama mukti, "sudden liberation", as opposed to the krama mukti, "gradual liberation" as in the Vedanta path of Jnana yoga.


title: Enlightenment (spiritual)

text: The key source texts for all schools of Vedānta are the Prasthanatrayi—the canonical texts consisting of the Upanishads, the Bhagavad Gita and the Brahma Sutras. The first person to explicitly consolidate the principles of Advaita Vedanta was Shankara Bhagavadpada, while the first historical proponent was Gaudapada, the guru of Shankara's guru Govinda Bhagavatpada.


title: Enlightenment (spiritual)

text: Shankara systematized the works of preceding philosophers. His system of Vedanta introduced the method of scholarly exegesis on the accepted metaphysics of the Upanishads. This style was adopted by all the later Vedanta schools.


title: Enlightenment (spiritual)

text: Shankara's synthesis of Advaita Vedanta is summarized in this quote from the , one of his (philosophical treatises):


title: Enlightenment (spiritual)

text: In the 19th century, Vivekananda played a major role in the revival of Hinduism, and the spread of Advaita Vedanta to the West via the Ramakrishna Mission. His interpretation of Advaita Vedanta has been called "Neo-Vedanta".


title: Enlightenment (spiritual)

text: Vivekananda emphasized samadhi as a means to attain liberation. Yet this emphasis is not to be found in the Upanishads nor in Shankara. For Shankara, meditation and Nirvikalpa Samadhi are means to gain knowledge of the already existing unity of Brahman and Atman, not the highest goal itself:


title: Enlightenment (spiritual)

text: "Neo-Advaita" is a new religious movement based on a modern, Western interpretation of Advaita Vedanta, especially the teachings of Ramana Maharshi. Neo-Advaita is being criticized for discarding the traditional prerequisites of knowledge of the scriptures and "renunciation as necessary preparation for the path of "jnana"-yoga". Notable neo-advaita teachers are H. W. L. Poonja, his students Gangaji Andrew Cohen, Madhukar and Eckhart Tolle.


title: Enlightenment (spiritual)

text: The prime means to reach moksha is through the practice of yoga (Sanskrit, Pāli: , /ˈjəʊɡə/, "") which is a commonly known generic term for physical, mental, and spiritual disciplines which originated in ancient India. Specifically, yoga is one of the six "āstika" ("orthodox") schools of Hindu philosophy. Various traditions of yoga are found in Hinduism, Buddhism, Jainism and Sikhism.


title: Enlightenment (spiritual)

text: Pre–philosophical speculations and diverse ascetic practices of first millennium BCE were systematized into a formal philosophy in early centuries CE by the "Yoga Sutras of Patanjali". By the turn of the first millennium, Hatha yoga emerged as a prominent tradition of yoga distinct from the Patanjali's "Yoga Sutras". While the "Yoga Sutras" focus on discipline of the mind, Hatha yoga concentrates on health and purity of the body.


title: Enlightenment (spiritual)

text: Hindu monks, beginning with Swami Vivekananda, brought yoga to the West in the late 19th century. In the 1980s, yoga became popular as a physical system of health exercises across the Western world. Many studies have tried to determine the effectiveness of yoga as a complementary intervention for cancer, schizophrenia, asthma and heart patients. In a national survey, long-term yoga practitioners in the United States reported musculo–skeletal and mental health improvements.


title: Enlightenment (spiritual)

text: Classical Advaita Vedanta emphasises the path of "jnana yoga", a progression of study and training to attain moksha. It consists of four stages:


title: Enlightenment (spiritual)

text: The paths of "bhakti yoga" and "karma yoga" are subsidiary. In bhakti yoga, practice centers on the worship God in any way and in any form, like Krishna or Ayyappa. Adi Shankara himself was a proponent of devotional worship or "Bhakti". But Adi Shankara taught that while Vedic sacrifices, "puja" and devotional worship can lead one in the direction of "jnana" (true knowledge), they cannot lead one directly to "moksha". At best, they can serve as means to obtain moksha via shukla gati.


title: Enlightenment (spiritual)

text: Karma yoga is the way of doing our duties, in disregard of personal gains or losses. According to Sri Swami Sivananda,


title: Enlightenment (spiritual)

text: Jainism (; ', "Samaṇam", ', ', "Jainmat", '), is an Indian religion that prescribes a path of non-violence towards all living beings. Its philosophy and practice emphasize the necessity of self-effort to move the soul toward divine consciousness and liberation. Any soul that has conquered its own inner enemies and achieved the state of supreme being is called a "jina" ("conqueror" or "victor"). The ultimate status of these perfect souls is called siddha. Ancient texts also refer to Jainism as "shramana dharma" (self-reliant) or the "path of the nirganthas" (those without attachments or aversions). In Jainism, enlightenment is called as "Keval Gyan" and the one who atains it is known as a "Kevalin".


title: Enlightenment (spiritual)

text: In Jainism highest form of pure knowledge a soul can attain is called Kevala Jnana (Sanskrit: केवलज्ञान) or Kevala Ṇāṇa (Prakrit: केवल णाण). which means "absolute or perfect" and Jñāna, which means "knowledge". Kevala is the state of isolation of the jīva from the ajīva attained through ascetic practices which burn off one's karmic residues, releasing one from bondage to the cycle of death and rebirth. Kevala Jñāna thus means infinite knowledge of self and non-self, attained by a soul after annihilation of the all ghātiyā karmas. The soul which has reached this stage achieves moksa or liberation at the end of its life span.


title: Enlightenment (spiritual)

text: Mahavira, 24th thirthankara of Jainism, is said to have practised rigorous austerities for 12 years before he attained enlightenment,


title: Enlightenment (spiritual)

text: Kevala Jñāna is one of the five major events in the life of a Tirthankara and is known as Keval Jñāna Kalyanaka and celebrated of all gods. Lord Mahavira's Kaivalya was said to have been celebrated by the demi-gods, who constructed the Samosarana or a grand preaching assembly for him.


title: Enlightenment (spiritual)

text: In the Western world the concept of "enlightenment" in a religious context acquired a romantic meaning. It has become synonymous with self-realization and the true self, which is being regarded as a substantial essence which is covered over by social conditioning.


title: Enlightenment (spiritual)

text: The use of the Western word "enlightenment" is based on the supposed resemblance of "bodhi" with "Aufklärung", the independent use of reason to gain insight into the true nature of our world. As a matter of fact there are more resemblances with Romanticism than with the Enlightenment: the emphasis on feeling, on intuitive insight, on a true essence beyond the world of appearances.


title: Enlightenment (spiritual)

text: The equivalent term "awakening" has also been used in a Christian context, namely the Great Awakenings, several periods of religious revival in American religious history. Historians and theologians identify three or four waves of increased religious enthusiasm occurring between the early 18th century and the late 19th century. Each of these "Great Awakenings" was characterized by widespread revivals led by evangelical Protestant ministers, a sharp increase of interest in religion, a profound sense of conviction and redemption on the part of those affected, an increase in evangelical church membership, and the formation of new religious movements and denominations.


title: Enlightenment (spiritual)

text: Another equivalent term is Illuminationism, which was also used by Paul Demieville in his work "The Mirror of the Mind", in which he made a distinction between "illumination subie" and "illumination graduelle". Illuminationism is a doctrine according to which the process of human thought needs to be aided by divine grace. It is the oldest and most influential alternative to naturalism in the theory of mind and epistemology. It was an important feature of ancient Greek philosophy, Neoplatonism, medieval philosophy, and in particular, the Illuminationist school of Islamic philosophy.


title: Enlightenment (spiritual)

text: Augustine was an important proponent of Illuminationism, stating that everything we know is taught to us by God as He casts His light over the world, saying that "The mind needs to be enlightened by light from outside itself, so that it can participate in truth, because it is not itself the nature of truth. You will light my lamp, Lord," and "You hear nothing true from me which you have not first told me." Augustine's version of illuminationism is not that God gives us certain information, but rather gives us insight into the truth of the information we received for ourselves.


title: Enlightenment (spiritual)

text: This romantic idea of enlightenment as insight into a timeless, transcendent reality has been popularized especially by D.T. Suzuki. Further popularization was due to the writings of Heinrich Dumoulin. Dumoulin viewed metaphysics as the expression of a transcendent truth, which according to him was expressed by Mahayana Buddhism, but not by the pragmatic analysis of the oldest Buddhism, which emphasizes anatta. This romantic vision is also recognizable in the works of Ken Wilber.


title: Enlightenment (spiritual)

text: In the oldest Buddhism this essentialism is not recognizable. According to critics it doesn't really contribute to a real insight into Buddhism:


title: Enlightenment (spiritual)

text: A common reference in Western culture is the notion of "enlightenment "experience"". This notion can be traced back to William James, who used the term "religious experience" in his book, "The Varieties of Religious Experience". Wayne Proudfoot traces the roots of the notion of "religious experience" further back to the German theologian Friedrich Schleiermacher (1768–1834), who argued that religion is based on a feeling of the infinite. The notion of "religious experience" was used by Schleiermacher to defend religion against the growing scientific and secular critique.


title: Enlightenment (spiritual)

text: It was popularised by the Transcendentalists, and exported to Asia via missionaries. Transcendentalism developed as a reaction against 18th-century rationalism, John Locke's philosophy of Sensualism, and the predestinationism of New England Calvinism. It is fundamentally a variety of diverse sources such as Hindu texts like the Vedas, the Upanishads and the Bhagavad Gita, various religions, and German idealism.


title: Enlightenment (spiritual)

text: The notion of "experience" has been criticised. Robert Sharf points out that "experience" is a typical Western term, which has found its way into Asian religiosity via western influences. The notion of "experience" introduces a false notion of duality between "experiencer" and "experienced", whereas the essence of kensho is the realisation of the "non-duality" of observer and observed. "Pure experience" does not exist; all experience is mediated by intellectual and cognitive activity. The specific teachings and practices of a specific tradition may even determine what "experience" someone has, which means that this "experience" is not the "proof" of the teaching, but a "result" of the teaching. A pure consciousness without concepts, reached by "cleansing the doors of perception", would be an overwhelming chaos of sensory input without coherence.


title: Enlightenment (spiritual)

text: Nevertheless, the notion of religious experience has gained widespread use in the study of religion, and is extensively researched.


title: Enlightenment (spiritual)

text: Socrates' & Plato's dialogues discuss enlightenment, with a large part being Republic: allegory of the cave.


title: Enlightenment (spiritual)

text: The word "enlightenment" is not generally used in Christian contexts for religious understanding or insight. More commonly used terms in the Christian tradition are religious conversion and revelation.


title: Enlightenment (spiritual)

text: Lewis Sperry Chafer (1871–1952), one of the founders of Dispensationalism, uses the word "illuminism". Christians who are "illuminated" are of two groups, those who have experienced true illuminism (biblical) and those who experienced false illuminism (not from the Holy Spirit).


title: Enlightenment (spiritual)

text: Christian interest in eastern spirituality has grown throughout the 20th century. Notable Christians, such as Hugo Enomiya-Lassalle and AMA Samy, have participated in Buddhist training and even become Buddhist teachers themselves. In a few places Eastern contemplative techniques have been integrated in Christian practices, such as centering prayer. But this integration has also raised questions about the borders between these traditions.


title: Enlightenment (spiritual)

text: Western and Mediterranean culture has a rich tradition of esotericism and mysticism. The Perennial philosophy, basic to the New Age understanding of the world, regards those traditions as akin to Eastern religions which aim at awakening/ enlightenment and developing wisdom. The hypothesis that all mystical traditions share a "common core", is central to New Age, but contested by a diversity of scientists like Katz and Proudfoot.


title: Enlightenment (spiritual)

text: Judaism includes the mystical tradition of Kabbalah. Islam includes the mystical tradition of Sufism. In the Fourth Way teaching, enlightenment is the highest state of Man (humanity).


title: Enlightenment (spiritual)

text: A popular western understanding sees "enlightenment" as "nondual consciousness", "a primordial, natural awareness without subject or object". It is used interchangeably with Neo-Advaita.


title: Enlightenment (spiritual)

text: This nondual consciousness is seen as a common stratum to different religions. Several definitions or meanings are combined in this approach, which makes it possible to recognize various traditions as having the same essence. According to Renard, many forms of religion are based on an experiential or intuitive understanding of "the Real"


title: Enlightenment (spiritual)

text: This idea of nonduality as "the central essence" is part of a modern mutual exchange and synthesis of ideas between western spiritual and esoteric traditions and Asian religious revival and reform movements. Western predecessors are, among others, New Age, Wilber's synthesis of western psychology and Asian spirituality, the idea of a Perennial Philosophy, and Theosophy. Eastern influences are the Hindu reform movements such as Aurobindo's Integral Yoga and Vivekananda's Neo-Vedanta, the Vipassana movement, and Buddhist modernism. A truly syncretistic influence is Osho and the Rajneesh movement, a hybrid of eastern and western ideas and teachings, and a mainly western group of followers.


title: Enlightenment (spiritual)

text: "Religious experiences" have "evidential value", since they confirm the specific worldview of the experiencer:


title: Enlightenment (spiritual)

text: Yet, just like the very notion of "religious experience" is shaped by a specific discourse and habitus, the "uniformity of interpretation" may be due to the influence of religious traditions which shape the interpretation of such experiences.


title: Enlightenment (spiritual)

text: Yandell discerns various "religious experiences" and their corresponding doctrinal settings, which differ in structure and phenomenological content, and in the "evidential value" they present. Yandell discerns five sorts:


title: Enlightenment (spiritual)

text: Various philosophers and cognitive scientists state that there is no "true self" or a "little person" (homunculus) in the brain that "watches the show," and that consciousness is an emergent property that arise from the various modules of the brain in ways that are yet far from understood. According to Susan Greenfield, the "self" may be seen as a composite, whereas Douglas R. Hofstadter describes the sense of "I" as a result of cognitive process.


title: Enlightenment (spiritual)

text: Several users of entheogens throughout the ages have claimed experiences of spiritual enlightenment with the use of these substances, their use and prevalence through history is well recorded, and continues today. In modern times we have seen increased interest in these practices, for example the rise of interest in Ayahuasca. The psychological effects of these substances have been subject to scientific research focused on understanding their physiological basis. While entheogens do produce glimpses of higher spiritual states, these are always temporary, fading with the effects of the substance. Permanent enlightenment requires making permanent changes in your consciousness.


title: Nacogdoches, Texas

text: Nacogdoches ( ) is a small city in East Texas and the county seat of Nacogdoches County, Texas, United States. The 2020 U.S. census recorded the city's population at 32,147. Nacogdoches is a sister city of the smaller, similarly named Natchitoches, Louisiana, the third-largest city in the southern Ark-La-Tex. Stephen F. Austin State University is located in Nacogdoches.


title: Nacogdoches, Texas

text: Local promotional literature from the Nacogdoches Convention and Visitors Bureau describes Nacogdoches as "The Oldest Town in Texas". Evidence of settlement at the same site dates back to 10,000 years ago. It is near or on the site of Nevantin, the primary village of the Nacogdoche tribe of Caddo Indians.


title: Nacogdoches, Texas

text: Nacogdoches remained a Caddo Indian settlement until the early 19th century. In 1716, Spain established a mission there, Misión Nuestra Señora de Guadalupe. That was the first European construction in the area. The "town" of Nacogdoches got started after the French had vacated the region (1760s, following the French and Indian War), and Spanish officials decided that maintaining the mission was too costly. In 1772, they ordered all settlers in the area to move to San Antonio. Some were eager to escape the wilderness, but others had to be forced from their homes by soldiers. It was one of the original European settlements in the region, populated by Adaeseños from Fort Los Adaes.


title: Nacogdoches, Texas

text: Colonel Antonio Gil Y'Barbo, a prominent Spanish trader, emerged as the leader of the settlers, and in the spring of 1779, he led a group back to Nacogdoches. Later that summer, Nacogdoches received designation from Spain as a "pueblo", or town, thereby making it the first "town" in Texas. Y'Barbo, as lieutenant governor of the new town, established the rules and laws for local government. He laid out streets with the intersecting El Camino Real (now State Highway 21) and La Calle del Norte/North Street (now Business U.S. Highway 59-F) as the central point. On the main thoroughfare, he built a stone house for use in his trading business. The house, or Old Stone Fort as it is known today, became a gateway from the United States to the Texas frontier.


title: Nacogdoches, Texas

text: The city has been under more flags than the state of Texas, claiming nine flags. In addition to the Six Flags of Texas, it also flew under the flags of the Magee-Gutierrez Republic, the Long Republic, and the Fredonian Rebellion. People from the United States began moving to settle in Nacogdoches in 1820 and Texas' first English-language newspaper was published there.


title: Nacogdoches, Texas

text: However, the first newspaper published (in the 1700s) was in Spanish. An edition of the newspaper (in Spanish) is preserved and shown at the local museum.


title: Nacogdoches, Texas

text: In 1832, the Battle of Nacogdoches brought many local settlers together, as they united in their stand to support a federalist form of government. Their successful venture drove the Mexican military from East Texas.


title: Nacogdoches, Texas

text: Thomas Jefferson Rusk was one of the most prominent early Nacogdoches Anglo settlers. A veteran of the Texas Revolution, hero of San Jacinto, he signed the Texas Declaration of Independence and was secretary of war during the Republic of Texas. He was president of the Texas Statehood Commission and served as one of the first two Texas U.S. Senators along with Sam Houston. He worked to establish Nacogdoches University, which operated from 1845 to 1895. The Old Nacogdoches University Building was added to the National Register of Historic Places in 1971. Rusk suffered from depression as a result of the untimely death of his wife and killed himself on July 29, 1857.


title: Nacogdoches, Texas

text: Sam Houston lived in Nacogdoches for four years prior to the Texas Revolution (1836) and opened a law office downtown. He courted Anna Raguet, daughter of one of the leading citizens, but Anna rejected him after finding that he was not divorced from his first wife Eliza Allen of Tennessee.


title: Nacogdoches, Texas

text: William Goins (Goyens, Goings, Going), the son of a white mother and black father, operated a local inn, trucking service, and blacksmith works and maintained a plantation outside Nacogdoches on Goins Hill. He was married to a white woman and owned slaves. He was appointed as an agent to trade with the Cherokees and was prominent in providing assistance to the Texas Army during the Revolution.


title: Nacogdoches, Texas

text: Adolphus Sterne was a merchant of German Jewish extraction who maintained the finest home in town. His frequent visitors included Sam Houston, Thomas Rusk, Chief Bowles and David Crockett, so his diary is one of the best sources for early Nacogdoches history.


title: Nacogdoches, Texas

text: Nacogdoches also contains one of the last surviving family-owned homestead plantations in East Texas, the August Tubbe Plantation, owned and operated by the same family which established it in 1859. August Tubbe was a German-born immigrant, who with his elderly mother, left Germany in 1858 and arrived in Nacogdoches by 1859. Their lives are recounted in several books, including a historical fiction novel by Gisela Laudi entitled "I am Justina Tubbe". Tubbe plantation is historically significant in the formation of early life in East Texas, not only in its cotton and sugarcane, but also because it later played an important part in milled-lumber production. Tubbe Sawmill was actually the first water-, and then steam-powered, sawmill in Nacogdoches. During renovations of the Cason-Monk buildings in the early 21st century, boards stamped with Tubbe Mill logos made dating the building possible. The estate contains one of the largest privately-owned genealogical archives pertaining to the Tubbe family in existence, providing important insight into early settlers' life during the 19th century. The family has been featured in a number of German museums including the Expo2000 in Bremerhaven Germany. The estate and archives are privately owned and maintained by a descendant of its original founder, and are currently available for study through private appointment only. The Tubbe family is considered to be one of the "founding families" of Nacogdoches, making their mark in many ways spanning over 150 years. August Tubbe was responsible for not only his large 2,000-acre plantation, sawmill, and participation in Milam Masonic Lodge, but also is credited with bringing the now defunct Texas and New Orleans Railroad spur into town. Tubbe estate as a whole is now owned and managed by Thomas VonAugust Tubbe-Brown, the fifth-generation grandson of August Tubbe.


title: Nacogdoches, Texas

text: In 1859, the first oil well in Texas began operation here, but it was never so well known as Spindletop, drilled in 1901 near Beaumont. Lyne Taliaferro Barret began this operation, which was interrupted by the American Civil War. However, after the war, Barret returned to Oil Springs, an area about 13 miles east of Nacogdoches, to resume his project by acquiring another drilling contract in 1865. Barret struck oil on September 12, 1866, at a depth of 106 feet. The well-produced around 10 barrels of oil per day, but was recorded to produce a range of 8 to 40 barrels. In 1868, the price of oil dropped so low that Barret lost his financial backing, and was forced to resign from the project. The fields then lay dormant for another 20 years, until 1889, when various drilling companies had 40 wells on the site. The site was never very productive, only yielding 54 barrels in 1890. However, it remains the first and oldest oil well in Texas, with production being recorded into the 1950s.


title: Nacogdoches, Texas

text: In 1912, the Marx Brothers came to town to perform their singing act at the old Opera House (now the SFA Cole Art Center). Their performance was interrupted by a man who came inside shouting, "Runaway mule!" Most of the audience left the building, and when they filed back in, Julius (later known as Groucho) began insulting them, saying "Nacogdoches is full of roaches!" and "The jackass is the flower of Tex-ass!" Instead of becoming angry, audience members laughed. Soon afterward, Julius and his brothers decided to try their hand at comedy instead of singing, at which they had barely managed to scrape together a living. A plaque commemorating the event is posted in downtown Nacogdoches.


title: Nacogdoches, Texas

text: On January 4, 1946, a violent tornado devastated part of the city, killing ten people and injuring 200 others. Tornado expert Thomas P. Grazulis estimated the intensity of the tornado to have been F4 on the Fujita scale.


title: Nacogdoches, Texas

text: In the edition of March 8, 1950, of "You Bet Your Life", Marx said, "I was once pinched in Nacogdoches for playing euchre on the front porch of a hotel. It happened to be on a Sunday. You're not allowed to play euchre in Nacogdoches on a Sunday. As a matter of fact, the way I played it they shouldn't have allowed it on Saturday, either." Marx would often mention Nacogdoches in the show if any contestant came from Texas.


title: Nacogdoches, Texas

text: In 1997, singer Willie Nelson came to Nacogdoches to perform with his friend, Paul Buskirk, a mandolin player. During his stay, Nelson recorded a number of jazz songs at Encore Studios. In 2004, he released those recordings on an album called "Nacogdoches".


title: Nacogdoches, Texas

text: On February 1, 2003, the Space Shuttle "Columbia" broke up during re-entry, depositing debris across Texas. Much of the debris landed in the Nacogdoches area, and much of the media coverage of the recovery efforts focused on Nacogdoches.


title: Nacogdoches, Texas

text: On September 24, 2005, Hurricane Rita struck Nacogdoches as a category-1 hurricane. Nacogdoches experienced the same problems Houston was having because of the unprecedented number of people evacuating the Houston-Galveston area. The city's local shelters were already overwhelmed with evacuees who had come from New Orleans because of Hurricane Katrina. Long lines at gas stations and shortages of supplies, food, and fuel were widespread. Many Houstonians took the Eastex Freeway (U.S. Highway 59) (future Interstate 69) out of Houston to evacuate through East Texas. As a result of Hurricane Rita, U.S. Highway 59 has been designated as an evacuation route by TXDOT, with all of its lanes to be used for contraflow traffic. Nacogdoches was designated as the north-end terminus of the contraflow/evacuation route.


title: Nacogdoches, Texas

text: Nacogdoches hosts the Texas Blueberry Festival on the second Saturday in June. The community is one of the first Texas Certified Retirement Communities. The community celebrates a host of other events year round which can be found by going to visitnacogdoches.com


title: Nacogdoches, Texas

text: Once a Democratic stronghold, Nacogdoches has in recent years moved steadily toward the Republican Party, being represented in the United States Congress and the Texas State Legislature by Republicans. The city, in general, is very moderate with the co-existence of students of Stephen F. Austin with a liberal left-of-center persuasion and conservative right-of-center city residents.


title: Nacogdoches, Texas

text: Nacogdoches has been in the Texas Main Street Program since 1998. Nacogdoches' downtown was named the "Best Historic Venue" by "Texas Meetings and Events" magazine. Nacogdoches was nominated as one of the "Friendliest Towns in America" by Rand McNally and "USA Today".


title: Nacogdoches, Texas

text: According to the United States Census Bureau, the city has an area of , of which is land and (0.24%) is water. The city center is just north of the fork of two creeks, the LaNana and Banita.


title: Nacogdoches, Texas

text: According to the 2010 census, Nacogdoches had a population of 32,996. The racial and ethnic composition of the population was 51.2% White, 28.4% Black, 0.5% Native American, 1.8% Asian, 0.1% Pacific Islander, 0.1% reporting some other race, 2.3% reporting two or more races, and 16.8% Hispanic or Latino American.


title: Nacogdoches, Texas

text: At the census of 2000, 29,914 people, 11,220 households, and 5,935 families resided in the city. The population density was 1,185.9 people per square mile (457.8/km). The 12,329 housing units averaged 488.7 per square mile (188.7/km). The racial makeup of the city was 65.98% White, 25.06% African American, 1.13% Asian, 0.34% Native American, 0.11% Pacific Islander, 5.84% from other races, and 1.55% from two or more races. Hispanics or Latinos of any race were 10.82% of the population.


title: Nacogdoches, Texas

text: At the 2019 American Community Survey's five year estimates program, the racial and ethnic makeup of the city was 51.0% non-Hispanic white, 26.1% Black or African American, 0.1% Native American, 2.3% Asian, 1.6% two or more races, and 18.8% Hispanic or Latino American of any race. A year later, the 2020 census tabulated a majority non-Hispanic white population.


title: Nacogdoches, Texas

text: Of the 11,963 households in 2019, the average family size was 3.06 and 53.2% of the total population were married. In contrast to several growing cities in Texas, the median age was 24.4 in 2019.


title: Nacogdoches, Texas

text: The median household income for the city was $54,444 from 2014 to 2019, against the statewide median household income of $64,034. Married-couple families had a median household income of $78,843 while non-family households had a median income of $22,076. Among the population, 31% of the city lived at or below the poverty line; 34% of the population aged 18 to 64 lived at or below the poverty line, and 33.9% of the population under age 18 lived at or below the poverty line.


title: Nacogdoches, Texas

text: There was a median gross rent of $771 in contrast with the statewide median gross rent of $1,091 at the 2019 American Community Survey. Among the population, there was a 37.5% homeownership rate and 2,068 vacant housing units in the city limits as of the 2020 census.


title: Nacogdoches, Texas

text: The economy of Nacogdoches is heavily dependent on Stephen F. Austin State University. Like many college towns in the United States, Nacogdoches businesses heavily depend on university students as customers and regularly employ them. Other large sectors of the local economy are healthcare, manufacturing, agriculture, and lumber.


title: Nacogdoches, Texas

text: According to the city's 2017 Comprehensive Annual Financial Report, the top employers in the city were:


title: Nacogdoches, Texas

text: The management and coordination of city services is overseen by a mayor, city manager and other administrative and operational roles.


title: Nacogdoches, Texas

text: According to the county's most recent Comprehensive Annual Financial Report Fund Financial Statements, the county's various funds had $23.5 million in revenues, $23.6 million in expenditures, $57 million in total assets, and $15 million in total liabilities. The county had $7.3 million in investments.


title: Nacogdoches, Texas

text: Nacogdoches is represented in the Texas Senate by Republican Robert Nichols, District 3, and in the Texas House of Representatives by Republican Travis Clardy, District 11.


title: Nacogdoches, Texas

text: The Texas Department of Criminal Justice operates the Nacogdoches District Parole Office in Nacogdoches.


title: Nacogdoches, Texas

text: At the federal level, the two U.S. Senators from Texas are Republicans John Cornyn and Ted Cruz; Nacogdoches is part of Texas's 1st congressional district, which is currently represented by Republican Louie Gohmert.


title: Nacogdoches, Texas

text: The city of Nacogdoches is primarily served by the Nacogdoches Independent School District. Small portions of the city are also zoned into the Woden ISD. School districts serving surrounding areas include Central Heights, Douglass, Garrison, Martinsville, Chireno and Cushing districts.


title: Nacogdoches, Texas

text: Nacogdoches is home to Stephen F. Austin State University, which is a state institution of about 13,000 students. Stephen F. Austin is also home to the East Texas Historical Association. Angelina College operates a branch campus in Nacogdoches.


title: Nacogdoches, Texas

text: The Texas Legislature designated Nacogdoches County as being in the boundary of Angelina College's district.


title: Castlevania (1986 video game)

text: Castlevania, known in Japan as is a platform game developed and published by Konami for the Family Computer Disk System video game console in Japan in September 1986. It was ported to cartridge format and released in North America for the Nintendo Entertainment System (NES) in May 1987 and in Europe in 1988. It was also re-issued for the Family Computer in cartridge format in 1993. It is the first game in Konami's "Castlevania" video game series.


title: Castlevania (1986 video game)

text: Players control Simon Belmont, descendant of a legendary vampire hunter, who enters the castle of Count Dracula to destroy him when he suddenly reappears 100 years after Simon's ancestor vanquished him. "Castlevania" was developed in tandem with the MSX2 game "Vampire Killer", which was released a month later and uses the same characters and setting, but features different gameplay mechanics. It was followed by a sequel, "", and a prequel, "", both of which were also released for the NES. "Super Castlevania IV" was released in 1991 for the Super NES and follows the same story. A remake for the Sharp X68000 home computer was re-released for the PlayStation as "Castlevania Chronicles" in 2001.


title: Castlevania (1986 video game)

text: "Castlevania" was positively received and financially successful. It is considered an NES classic by "PC World", while "Nintendo Power" and "Game Informer" ranked it in their list of best video games ever made.


title: Castlevania (1986 video game)

text: "Castlevania" uses platform gameplay and is divided into six blocks of three stages each, for a total of 18 stages. Simon can move, jump, crouch, climb stairs and use a magic whip (known in series lore as "Vampire Killer") as his primary combat weapon. When the player presses the button to crack the whip, there is a short delay before Simon actually does so. The player begins the game with four lives and five hearts, and must complete the current block of stages before a timer runs out. Simon has a health meter, which decreases whenever he is hit by an enemy or projectile. One life is lost if either the meter or the timer reaches zero, or if Simon falls off the bottom of the screen or is hit by a moving spiked ceiling. Hidden food items restore health, and bonus lives are earned at certain score thresholds. The player fights a boss character, usually themed after a classic horror movie monster such as Frankenstein's monster or the Grim Reaper, at the end of each block, and must win the battle and pick up a red orb that restores all health before time runs out in order to advance. The ultimate goal is to defeat Count Dracula himself and the Curse of Man at the end of Stage 18, triggering the collapse of Dracula's castle and allowing the player to restart the game at an increased difficulty.


title: Castlevania (1986 video game)

text: Throughout the game, the player can find and use various backup weapons, including throwing knives, axes, vials of holy water, a magical watch that can briefly freeze enemies, and sacred crosses that function as boomerangs. However, only one such weapon can be carried at a time; if the player picks up a new one or loses a life, the weapon is automatically lost. Backup weapons require hearts for their use, which can be found by extinguishing candles or defeating enemies with the whip. Other hidden items include point bonuses (sacks of money), temporary invincibility (golden jar), upgrades to the whip's length and power (metal chain), instant destruction of all on-screen enemies (blue rosary) and double to triple use of the backup weapon.


title: Castlevania (1986 video game)

text: When all lives are lost, the player has the option to continue from the start of the block or return to the title screen.


title: Castlevania (1986 video game)

text: "Castlevania" was directed by Hitoshi Akamatsu. An admirer of cinema, Akamatsu approached projects with a "film director's eye", and said the visuals and music for "Castlevania" were "made by people who consciously wanted to do something cinematic." With "Castlevania", he wanted players to feel like they were in a classic horror film.


title: Castlevania (1986 video game)

text: It was originally released for the Family Computer Disk System in 1986. Due to its success in Japan, it was released in cartridge format for the Nintendo Entertainment System (NES) under the title of "Castlevania" in 1987 and 1988 in North America and Europe, respectively, and rereleased in cartridge format for the Japanese Famicom under its original title in 1993. The international name of "Castlevania" was the result of Konami of America senior vice president Emil Heidkamp's discomfort with the religious connotations of the title "Akumajō Dracula", which he believed translated as "Dracula Satanic Castle". "Castlevania" was one of the first major platform games on the NES and a part of an unofficial second wave of video games for the NES. Its release coincided with the 90th anniversary of Bram Stoker's "Dracula".


title: Castlevania (1986 video game)

text: The player-character Simon was originally named Peter Dante, a vampire killer who was a grandson of Christopher Dante. At the time, whip attacks were planned to be in multiple directions, an idea later seen in "Super Castlevania IV". Other sub-weapons were planned, such as garlic, wooden stakes and an item that transforms the player-character into a werewolf, but they were not included in the game.


title: Castlevania (1986 video game)

text: A game also titled "Akumajō Dracula" was developed for the MSX2 simultaneously. It was released a month after the Disk System game. It was released in Europe under the title "Vampire Killer" where it was the first game in the series to be released. The MSX2 version featured different areas and new gameplay.


title: Castlevania (1986 video game)

text: "Castlevania" has been ported to a variety of different video game consoles, handheld game consoles, home computer systems and mobile phones.


title: Castlevania (1986 video game)

text: A ROM cartridge version of the game was released for the Japanese Family Computer in 1993. The release omitted the name registration screen from the original Famicom Disk version (as well as saving) and included an "Easy" mode.


title: Castlevania (1986 video game)

text: In 2002, Konami released the first three NES "Castlevania" games for Windows as "Konami Collector's Series: Castlevania & Contra".


title: Castlevania (1986 video game)

text: In 2004, "Castlevania" was released for the Game Boy Advance as part of the Classic NES Series published by Nintendo. The original end credits of the game, which consisted of puns on the names of horror movie stars, were removed in this version.


title: Castlevania (1986 video game)

text: The game is included in "Castlevania Anniversary Collection", a compilation released as part of Konami's 50th anniversary. In Japan, this compilation includes the 1993 Famicom port instead of the original version. This contrasts the Virtual Console which used the Famicom Disk System version in all of its Japanese rereleases.


title: Castlevania (1986 video game)

text: Since its original release, "Castlevania" has received a generally positive reception. Japanese gaming publication "Famitsu" gave it a score of 34 out of 40. "Computer and Video Games" also gave it a positive review in 1989, praising the "huge playing area and lots of neat touches" that would "keep you engrossed for weeks." They criticized the "gaudy graphics" but said "it's the gameplay that counts, and it's great!" It sold impressively and was considered a classic by "Retro Gamer" and "IGN".


title: Castlevania (1986 video game)

text: It was rated the 22nd best game made on a Nintendo System in "Nintendo Power"s Top 200 Games list in 2006. In August 2008, "Nintendo Power" listed it as the 14th-best Nintendo Entertainment System video game. In 2001, "Game Informer" ranked it the 48th-best game ever made; the staff noted that its gameplay set a standard for the industry. IGN ranked it 19th on their list of the best NES games; the second and third "Castlevania" games were ranked 25th and fifth, respectively. It was praised for its difficulty, gameplay, soundtrack and visuals. GameZone ranked it as the eighth-best "Castlevania" game. Robert Workman (an editor for GameZone) felt that the game had aged well and was a great value on the Wii Virtual Console. "IGN"s Lucas M. Thomas noted the relative realism of "Castlevania"s weapons versus "glowing flowers that let you throw bouncing fireballs." He also praised it for feeling scary while also not taking itself too seriously. The combination of these elements and others caused him to credit it as a "unique and wonderful" game and a game that made an impact on later "Castlevania" titles. "Retro Gamer" called it one of the most enduring video games ever made. It attributed its quality less so to its unique gameplay and more so to the adult atmosphere and challenge for players. In his review of the Virtual Console version, "IGN"s Mark Birnbaum personally enjoyed its difficulty and design but noted that people who were quick to become frustrated would enjoy the Super NES sequel "Super Castlevania IV" better. 1UP.com's Kurt Kalata praised its level of difficulty and its realistic visual design.


title: Castlevania (1986 video game)

text: "Game Informer"s Tim Turi claimed that the original "Castlevania" made the series a "legend" and called it the "essential "Castlevania" experience." IGN wrote a piece that discussed the idea that this game as well as other early "Castlevania" titles were overshadowed by the 1997 "", which it considered the best title in the series. It cited this game's absence from IGN's top 100 games of all time as well as the absence of the second and third "Castlevanias" from "Game Informer"s 'top 100 games of all time' list. It suggested that the reason this is the case is because of the NES games' high learning curve and difficulty level. It also felt that "Symphony of the Night"s influence on the series after its release caused people to forget about the NES games. It praised the Virtual Console for allowing players unfamiliar with these games to experience them more easily. IGN's Lucas M. Thomas included its 25th anniversary in a list of forgotten anniversaries which took place in 2011. He felt it odd that "Castlevania" had so many titles before its 25th anniversary, yet only released one title during 2011.


title: Castlevania (1986 video game)

text: The "Classic NES Series" re-release of the game was met with mixed to positive reception. It holds an average score of 74/100 and 71% at Metacritic and GameRankings, respectively.


title: The Invisible Man (1933 film)

text: The Invisible Man is a 1933 American science fiction horror film directed by James Whale. Based on H. G. Wells' 1897 novel "The Invisible Man" and produced by Universal Pictures, the film stars Claude Rains, Gloria Stuart, and William Harrigan. The film involves a Dr. Jack Griffin (Rains) who is covered in bandages and has his eyes obscured by dark glasses, the result of a secret experiment that makes him invisible, taking lodging in the village of Iping. Never leaving his quarters, the stranger demands that the staff leave him completely alone until his landlady discovers he is invisible. Griffin returns to the laboratory of his mentor, Dr. Cranley (Henry Travers), where he reveals his secret to Dr. Kemp (William Harrigan) and former fiancée Flora Cranley (Gloria Stuart) who soon learn that Griffin's discovery has driven him insane, leading him to prove his superiority over other people by performing harmless pranks at first and eventually turning to murder.


title: The Invisible Man (1933 film)

text: "The Invisible Man" was in development for Universal as early as 1931 when Richard L. Schayer and Robert Florey suggested that Wells' novel would make a good follow-up to the studio's horror film hit "Dracula". Universal opted to make "Frankenstein" in 1931 instead. This led to several screenplay adaptations being written and a number of potential directors including Florey, E.A. Dupont, Cyril Gardner, and screenwriters John L. Balderston, Preston Sturges, and Garrett Fort all signing on to develop the project intending it to be a film for Boris Karloff. Following Whale's work on "The Old Dark House" and "The Kiss Before the Mirror", Whale signed on and his screenwriting colleague R.C. Sherriff developed a script in London. Production began in June 1933 and ended in August with two months of special effects work done following the end of filming.


title: The Invisible Man (1933 film)

text: On the film's release in 1933, it was a great financial success for Universal and received strong reviews from several trade publications, including "The New York Times", which placed it among their Best in Film for 1933. The film spawned several sequels that were relatively unrelated to the original film in the 1940s. The film continued to receive praise on re-evaluations by critics such as Carlos Clarens, Jack Sullivan, and Kim Newman, as well as being listed as one of their favorite genre films by filmmakers John Carpenter, Joe Dante, and Ray Harryhausen. In 2008, "The Invisible Man" was selected for the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".


title: The Invisible Man (1933 film)

text: On a snowy night, a stranger, his face swathed in bandages and his eyes obscured by dark goggles, takes a room at The Lion's Head Inn in the English village of Iping in Sussex. The man demands to be left alone. Later, the innkeeper, Mr. Hall, is sent by his wife to evict the stranger after he has made a huge mess in his room while doing research and has fallen behind on his rent. Angered, the stranger throws Mr. Hall down the stairs. Confronted by a policeman and some local civilians, he removes his bandages and goggles, revealing he is invisible. Laughing maniacally, he takes off his clothes, making himself completely undetectable, and drives off his tormentors before fleeing into the countryside.


title: The Invisible Man (1933 film)

text: The stranger is Dr. Jack Griffin, a chemist who discovered the secret of invisibility while conducting a series of tests involving an obscure drug called monocane. Flora Cranley, Griffin's fiancée and the daughter of Griffin's employer, Dr. Cranley, becomes distraught over Griffin's long absence. Cranley and his other assistant, Dr. Kemp, search Griffin's empty laboratory, finding only a single note in a cupboard. Cranley becomes concerned when he reads it. The note has a list of chemicals, including monocane, which Cranley knows is extremely dangerous; an injection of it drove a dog mad in Germany. Griffin, it seems, is unaware of this. Cranley deduces Griffin may have learned about monocane in English books printed before the incident that describe only its bleaching power.


title: The Invisible Man (1933 film)

text: On the evening of his escape from the inn, Griffin turns up at Kemp's home. He forces Kemp to become his visible partner in a plot to dominate the world through a reign of terror, beginning with "a few murders here and there". They drive back to the inn to retrieve his notebooks on the invisibility process. Sneaking inside, Griffin finds a police inquiry underway, conducted by an official who believes it is all a hoax. After securing his books, Griffin angrily attacks and kills the officer.


title: The Invisible Man (1933 film)

text: Back home, Kemp calls Cranley, asking for help, and then the police. Flora persuades her father to let her come along. In her presence, Griffin becomes more placid and calls her "darling". When he realizes Kemp has betrayed him, his first reaction is to get Flora away from danger. After promising Kemp that at 10 o'clock the next night he will murder him, Griffin escapes and goes on a killing spree. He causes the derailment of a train, resulting in a hundred deaths, and throws two volunteer searchers off a cliff. The police offer a reward for anyone who can think of a way to catch him.


title: The Invisible Man (1933 film)

text: Feeling that Griffin will try to fulfill his promise, the chief detective in charge of the search uses Kemp as bait and devises various clever traps. At Kemp's insistence, the police disguise him in a police uniform and let him drive his car away from his house. Griffin, however, is hiding in the back seat of the car, as surprises Kemp and tells that he was also following him all day while committing his crimes. He overpowers Kemp and ties him up in the front seat. Griffin then sends the car down a steep hill and over a cliff where it explodes on impact, killing Kemp.


title: The Invisible Man (1933 film)

text: A snowstorm forces Griffin to seek shelter in a barn where he falls asleep. Later a farmer enters and spots movement in the hay where Griffin is sleeping. He notifies the police, who rush out to the farm and surround the barn. They set fire to the building, which forces Griffin to come out, leaving visible footprints in the snow. The chief detective opens fire, mortally wounding Griffin. He is taken to the hospital where, hours later, a surgeon informs Dr. Cranley that Griffin is dying and asking to see Flora. On his deathbed, Griffin remorsefully admits to Flora, "I meddled in things that man must leave alone". As he dies, his body quickly becomes visible again.


title: The Invisible Man (1933 film)

text: Following the success of "Dracula" (1931), Richard L. Schayer and Robert Florey suggested to Universal Pictures as early as 1931 that an adaptation of H. G. Wells' "The Invisible Man" would make a suitable follow-up. Both Carl Laemmle and Carl Laemmle Jr. opted to make a film adaptation of "Frankenstein" (1931) instead. While "Frankenstein" was shooting, Universal bought the rights to "The Invisible Man" from Wells on September 22, 1931, for $10,000; he demanded script approval from Universal. Universal had purchased the rights to the Philip Wylie 1931 novel "The Murderer Invisible", intending to lift some of the more gruesome elements from it to incorporate into Wells' story.


title: The Invisible Man (1933 film)

text: The director first set up for the project was James Whale, whom Laemmle Jr. had great faith in. He had directed R. C. Sherriff's play "Journey's End" in London and New York and the 1930 film "Journey's End". Following the release of "Frankenstein", which would break box office records across the United States, Universal had the film's star Boris Karloff signed to a five-year contract. On December 29, 1931, the "Los Angeles Record" stated that Karloff's next film would be "The Invisible Man". By January 28, 1932, Whale had left the project, wary of being tagged as a "horror" director. This left Karloff as the only cast member of a film with neither a script nor a director.


title: The Invisible Man (1933 film)

text: The first director set to replace Whale was Robert Florey, whose film "Murders in the Rue Morgue" was released in February 1932. By April 9, Florey had a draft of "The Invisible Man" co-written with Garrett Fort who had contributed to the scripts of both "Dracula" and "Frankenstein". Based mostly on Wylie's "The Murderer Invisible", their outline included plot elements such as an invisible octopus, invisible rats, and blowing up Grand Central Station. Unwilling to wait while Florey worked out the script and the film's technical difficulties, Universal made "The Old Dark House" (1932) Karloff's next feature with Whale as director. Whale had decided to return to horror features following the financial failure of his film "The Impatient Maiden" (1932). By June 1932, producer Sam Bischoff left Universal to set up his own independent studio. Florey accepted Bischoff's invitation to join him and also left Universal. By June 6, John L. Balderston, whose name had appeared in the credits of "Dracula" and "Frankenstein", submitted a screenplay for "The Invisible Man" in collaboration with the film's new director Cyril Gardner. This was Balderston's third attempt at the script based primarily on Wylie's novel. In mid-1932, Universal writers John Huston and studio scenario editor Richard Schayer attempted new treatments for the film. By July 18, there was still no officially approved script and Universal loaned Karloff to MGM to shoot "The Mask of Fu Manchu" (1932).


title: The Invisible Man (1933 film)

text: By November, following the release of "The Old Dark House", Whale was again set to be the director of "The Invisible Man" with a new script being written by Preston Sturges. Sturges' script involved a Russian chemist who makes a madman invisible to wreak vengeance on Bolsheviks who have destroyed his family. After working on the script for eight weeks, Sturges handed in his screenplay; Universal fired him the next day. Sherriff described Sturges' draft as "a sort of transparent Scarlet Pimpernel". On November 5, it was reported that Karloff was to star in a film titled "The Wizard" to be directed by E.A. Dupont, while Whale would film Karloff in "The Invisible Man" in early 1933. Whale had also written his own treatment for the film, which is described by historian Gregory Mank as inspired by both "The Phantom of the Opera" and "Dr. Jekyll and Mr. Hyde" interjected with religious touches like those in his films "Frankenstein" and "The Old Dark House". After Wells rejected this draft, Whale left "The Invisible Man" again. On January 17, 1933, Universal reported a loss of $1,250,283 in 1932 and planned to shut down for six to eight weeks after current productions had finished shooting. While Whale directed "The Kiss Before the Mirror" (1933), E.A. Dupont's project "The Wizard" was never filmed and he became the next person set to direct "The Invisible Man". John Weld was signed to write the film's script and browsed through several rejected drafts, including one by Laird Doyle. Weld asked for a copy of Wells' novel from Universal. As they did not have a copy, he got his own to use for source material. Yet another new writer was attached to write the script by February 3. R.C. Sherriff was the screenwriter and Whale was once again set to direct. Sheriff worked on the script at his home in London and disregarded Universal's request he draw material from Wylie's "The Murderer Invisible" and the previous draft scripts. Universal Studios closed down on February 13 with only executives and a skeleton crew remaining on the payroll. Universal laid off Whale for twelve weeks before he directed "The Invisible Man". Universal reported they planned on having Karloff return to "The Invisible Man" in May. After Universal reopened in May, they released his new film "The Kiss Before the Mirror" to critical acclaim, but is among the studio's lowest-grossing films in Los Angeles and New York.


title: The Invisible Man (1933 film)

text: While Sherriff was completing the script, on June 1, several trade papers announced Karloff was leaving the picture. "The Hollywood Reporter" reported on May 16 that Karloff was "definitely out," while "Variety" reported he had left the project by June 1 citing salary issues. Wells approved of Sherriff's script, including changes such as having Griffin's drug monocane not just make him invisible, but also drive him into insanity.


title: The Invisible Man (1933 film)

text: Sherriff recalled that "[Wells] agreed with me entirely that an invisible lunatic would make people sit up in the cinema more quickly than a sane man". Sherriff completed his draft and returned to Hollywood in July 1933. Some sources, including Phil Hardy's book "Science Fiction" and Carlos Clarens' "An Illustrated History of the Horror Film", state that Wylie revised Sherriff's final draft, while the authors of the book "Universal Horrors" found no evidence to support this claim.


title: The Invisible Man (1933 film)

text: Whale considered Colin Clive for the film's title role, but he also thought of actor Claude Rains, whom he met at a London performance of "The Insect Play" in 1923. At the time, Rains' career was as a stage actor in New York and London and Universal discouraged Whale from casting him, not wanting an unknown actor in the lead. Rains had been earning so little money from his work on stage he was considering leaving the theatre completely as he had recently bought a farm in New Jersey. Whale had tracked down a screen test Rains had done for "A Bill of Divorcement", which Rains later described as "terrible", saying he was "all over the place! I knew nothing about screen technique, of course, and just carried on as if I was in an enormous theatre. When I saw the test, I was shocked and frightened". After viewing the screen test, Whale wanted Rains as the lead and had him do another reading of the scene where Griffin boasts to Dr. Kemp of his plans to rule the world. Universal approved of the screen test and signed Rains for a two-picture deal, including top billing in "The Invisible Man". While filming, Rains asked Whale to let him act more emotionally, asking him if he could "try to express something with [his] eyes". Whale replied: "But Claude, old fellow, what are you going to do it with? You haven't any face!"


title: The Invisible Man (1933 film)

text: Whale did not fully divulge the details of the role to Rains but sent him to studio labs to prepare for special effects, where molds and casts of his head were made. Gloria Stuart, who had worked with Whale in "The Old Dark House" and "The Kiss Before the Mirror" acted in the role of Flora Cranley. Stuart reflected on working with Rains and found him to be difficult, saying: "He was "molto difficile", he was an 'actor's actor' and he didn't really give". The role of Dr. Arthur Kemp was set for Chester Morris. He left the project when he learned it was unflattering. William Harrigan was cast as his replacement. He had worked with Rains in a 1932 stage version of "The Moon in the Yellow River". Other actors cast in the film were on the verge of Hollywood success, including Walter Brennan playing a man whose bicycle is stolen, and John Carradine as an informer.


title: The Invisible Man (1933 film)

text: Among the crew, cinematographer Arthur Edeson had worked with Whale on "Waterloo Bridge" (1931), "Frankenstein", "The Impatient Maiden", and "The Old Dark House". Heinz Roemheld composed the score for "The Invisible Man". He would later score "Dracula's Daughter" (1936), "The Black Cat" (1934), and win an Academy Award for "Yankee Doodle Dandy" (1942). Roemheld was a former concert pianist, and conductor who had impressed Carl Laemmle with his accompaniment to screenings of the 1925 film "The Phantom of the Opera". Roemheld left Universal in 1931 but returned in 1933 to score "The Invisible Man". The film's score is only heard in the opening, during the last seven minutes of the film, and while the closing credits run. The film's score was recycled in later Universal productions, a common practice during the 1930s. The music is heard again in "Werewolf of London" (1935), "The Black Cat", and the two film serials "Flash Gordon" (1936) and "Buck Rogers" (1939).


title: The Invisible Man (1933 film)

text: Principal photography of "The Invisible Man" began at the end of June 1933, and concluded in late August. All of the special effects shots were filmed in what Gloria Stuart recalled as "in utmost secrecy" during production. The special effects work took another two months to complete. Universal press clips falsely claimed that the invisibility effects were optical effects done with mirrors. Whale worked closely with John P. Fulton on the film's special effects. Fulton revealed how the effects were done in the September 1934 issue of "American Cinematographer", stating they had been shot against a completely black set with walls and floors covered in black velvet to make it non-reflective. The actor was then covered head to foot with black velvet tights and wore whatever clothes he required for the scene. With this negative, a print was made, and a duplicate negative was made to serve as mattes for printing. Then with an ordinary printer, they made a composite first printing of the positive of the background and normal action, using the negative matte to mask the area where the invisible man was to move. Fulton said the principal difficulty of this was matching the lighting on the visible clothes shot with the general lighting used in the scenes and fixing small imperfections such as the scenes with eye-holes which were touched up in the film frame by frame with a brush and opaque dye.


title: The Invisible Man (1933 film)

text: For other scenes, where Rains is unwrapping the bandage from his head for the villagers, Rains' own head is hidden below his collar, and the bandages are being taken off a thin wireframe. Other effects involving props moving "by themselves" are done with wires pulled by booms or dollies. The film's final cost after Fulton finished the special effects was $328,033.


title: The Invisible Man (1933 film)

text: Following the October 26 press screening, a reviewer for "The Hollywood Reporter" praised the film declaring it "a legitimate offspring of the family that produced "Frankenstein" and "Dracula"" and predicted it would "fare better [...] than either of its predecessors". The review specifically praised the work of Whale, Rains, and Sherriff. "The Invisible Man" was screened on October 31, 1933, at the Kiva theatre in Greeley, Colorado. Other premiere screenings took place in Chicago where it premiered at the Palace Theatre on November 10, in New York at the Roxy Theatre on November 17, and Los Angeles at the RKO-Hill Street Theatre on November 17. Universal Pictures distributed the film theatrically. When the film played in Los Angeles at RKO-Hill Street, it played to nearly empty houses. It performed far better at New York's Roxy, where it earned $26,000 in its first three days. It broke records at the New York theatre for their 1932–1933 season. 80,000 patrons saw the film in four days with $42,000 being collecting there during the week, leading to the film to continue screening for a second week. The film moved to two theatres in New York: The Radio City Roxy and the RKO Palace, where it continued to perform well. "The Invisible Man" never performed well in Los Angeles during its initial release, where it grossed $4,300 in one week. Overall, the authors of "Universal Horrors" described the film as a "big success" at the box office. The film opened in London on January 28, 1934, at the Tivoli Theatre where it was also an enormous hit. The total gross of "The Invisible Man" is unknown.


title: The Invisible Man (1933 film)

text: In 2000, Universal released "The Invisible Man" on VHS and DVD as part of their Classic Monster Collection, a series of releases of Universal Classic Monsters films. In 2004, Universal released "The Invisible Man: The Legacy Collection" on DVD as part of the Universal Legacy Collection. This two-disc release includes "The Invisible Man", along with "The Invisible Man Returns" (1940), "The Invisible Woman" (1940), "Invisible Agent" (1942), and "The Invisible Man's Revenge" (1944), as well as a short documentary "Now You See Him: The Invisible Man Revealed", hosted by film historian Rudy Behlmer. In 2012, Universal Studios celebrated its 100th anniversary and released a restored version of "The Invisible Man" as it had done for "Dracula", "Frankenstein", and "Bride of Frankenstein". Universal engaged Technicolor Creative Service to prepare a new print, combined with Universal's preservation acetate dupe negative and a nitrate dupe found at the British Film Institute. This new print featured long-missing frames, and digital repair of scratches, stains, and improved sound. In the same year, "The Invisible Man" was released on Blu-ray as part of the "Universal Classic Monsters: The Essential Collection" box set, which includes nine films from the Universal Classic Monsters series. The film received a standalone Blu-ray release in 2013, followed by a six-film release of the films in the "Invisible Man" series in a "Complete Legacy Collection" on Blu-ray. Universal Pictures Home Entertainment released the film on 4K Ultra HD Blu-ray on October 5, 2021.


title: The Invisible Man (1933 film)

text: Mordaunt Hall of "The New York Times" and the critic credited as "Char." in "Variety" commented on the originality of the material, with Hall finding the film to be a "remarkable achievement" that surprised him that it was not attempted earlier. "Char." reflected on this stating it brought "something new and refreshing in film frighteners". Critics also praised the crew, such as Thornton Delehanty of "The New York Post" who referred to the film as "one of the best thrillers of the year", complimented the work of Sherriff and the "quality of awesomeness and suspense" Whale provided.


title: The Invisible Man (1933 film)

text: Kate Cameron of the New York "Daily News" gave the film a three and a half star rating, praising Rains's performance, stating, "his voice carrying a sinister note that is very effective in this kind of horror role" and declared the film to be one that "should not be missed". More general praise came from other publications from "Film Daily" wrote: "It will satisfy all those who like the bizarre and the outlandish in their film entertainment" and John Mosher of "The New Yorker" called the film a "bright little oddity". "The New York Times" placed the film at number nine on its 1933 Ten Best list.


title: The Invisible Man (1933 film)

text: In his 1967 book "The Illustrated History of Horror and Science-Fiction Films", Carlos Clarens praised the film, stating that "the scene where Griffin first flaunts his invisibility is the kind of cinema magic that paralyzes disbelief and sets the most skeptical audience wondering". Clarens noted that "not only is the show a technical tour de force, "The Invisible Man" also contains some of the best dialogue ever written for a fantastic film". Jack Sullivan wrote in "The Penguin Encyclopedia of Horror and the Supernatural" (1986) that the gags in "The Invisible Man" were "the opposite of strained", noting that Griffin singing wearing only his pyjama pants was "a piece of unabashed prankishness, but it's also something beyond that: the sudden eye-opening enchantment of the scene is worthy of Grimms or L. Frank Baum" concluding the scene was "the perfect image to define Whale's lightly horrific fairy-tale magic". In Phil Hardy's 1984 book "Science Fiction", he praised Fulton's special effects as "deservedly [...] widely praised" noting they "still create a primitive sense of amazement and wonder". While describing the screenplay as "slow-moving" he felt that, "Whale's impish sense of black comedy remains a delight". In Kim Newman and James Marriott's book "The Definitive Guide to Horror Movies" (2006), Marriott praised the film as "a perfectly judged marriage of menace and comedy, anchored by superlative special effects and a bravura performance from Rains". Newman praised the special effects in the film, declaring that "special effects genius John P. Fulton accomplished with 1930s technology was certainly on a par with anything in 1992's Chevy Chase vehicle "Memoirs of an Invisible Man" (1992)". Newman also praised Rains's role as Griffin, noting the "expressive gestures" as "vital to his performance" and his "terrific voice: velvety with a sly twist, perfect for those wonderful mad scientist speeches". Newman concluded in his five-star review of the film in "Empire" that "if you set aside "Frankenstein" as more of a horror film and "King Kong" (1933) as a fantasy, "The Invisible Man" is the first truly great American science fiction film".


title: The Invisible Man (1933 film)

text: Retrospective response to the film includes it being listed on several "Best-of" genre lists. In the book "The Variety Book of Movie Lists", "The Invisible Man" is listed among the best films of certain genres by artists in their respective fields. This included directors Joe Dante (Best of Horror), John Carpenter (Best Science Fiction) where he referred to the film as "brilliant", and Ray Harryhausen (Best of Fantasy) where Harryhausen stated that "where do science fiction and so-called horror films begin and fantasy films leave off? Surely they must overlap". In Phil Hardy's "Science Fiction" (1984), when critics were asked to list the greatest science fiction films of all time, critic Denis Gifford included it in his top ten. In 2008, "The Invisible Man" was selected for inclusion in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".


title: The Invisible Man (1933 film)

text: Universal revived an Invisible Man character for future films but did not attempt to connect the films with any direct storyline as they had done with their films "The Mummy" or "Frankenstein". Examples of these connections include "The Invisible Man Returns" where the character Geoffrey Radcliffe (Vincent Price) receives the invisibility formula from Dr. Frank Griffin (John Sutton), a relative of Jack Griffin from the first film and "Invisible Agent" where Frank Raymond is the grandson of Jack Griffin. In "The Invisible Man's Revenge", the screenplay does not connect Robert Griffin with the previous Griffins who either created, understood, and or operated with the invisibility formula. Universal Pictures first announced the development of "The Invisible Man Returns" in March 1939, around the time "Son of Frankenstein" (1939) had been performing decently at the box office. "The Invisible Man Returns" was distributed theatrically on January 12, 1940. The Invisible Man character shows up in "Son of the Invisible Man", one of the episodes of the film "Amazon Women on the Moon" (1987). The scene is directed by Carl Gottlieb and features Ed Begley, Jr. in an inn similar to the 1933 film where he only thinks he is invisible.


title: The Invisible Man (1933 film)

text: Rains' career benefited greatly from his role in the film, allowing him to become one of Hollywood's most valuable actors. It led him to roles that Newman praised as "everything from "The Adventures of Robin Hood" (1938) (as Bad King John) to "Casablanca" (1942)". In his 1934 autobiography, Wells only mentioned the film version of "The Invisible Man" briefly, stating that it was "a tale that, thanks largely to the recent film produced by James Whale, is still read as much as ever it was". Reflecting on her work at Universal, Gloria Stuart described working at the studio as very low quality, noting how ramshackle it was with make-up rooms and wardrobe areas being "very, very primitive" and that apart from the films she made with Whale, she declared all her work at Universal was "terrible" and "real B stuff", noting that the cast and crew working at Universal "considered it slumming".


title: The Invisible Man (1933 film)

text: Unlike other Universal properties, "The Invisible Man" did not receive any immediate remakes such as those done by Hammer Film Productions.