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Although there were exceptions, Terry-Thomas's screen characters were generally similar; Geoff Mayer wrote that "although there would be variations, he would remain the 'rotter', a pretentious, elitist, seedy, sometimes lecherous cad with an eye for quick money and the easy life". Eric Sykes, with whom Terry-Thomas shared a number of screen moments, said it was "always the same character and always funny". Andrew Spicer, writing for the British Film Institute, called him "the definitive postwar cad or rotter". Terry-Thomas himself agreed with the view he presented, writing in the 1980s that "T-T with his permanent air of caddish disdain ... bounder ... aristocratic rogue ... upper-class English twit ... genuine English eccentric ... one of the last real gentlemen ... wet, genteel Englishman ... high-bred idiot ... cheeky blighter ... camel-haired cad ... amiable buffoon ... pompous Englishman ... twentieth-century dandy ... stinker ... king of the cads ... All those descriptions added up to my image as Terry-Thomas".

Although there were exceptions, Terry-Thomas's screen characters were generally similar; Geoff Mayer wrote that "although there would be variations, he would remain the 'rotter', a pretentious, elitist, seedy, sometimes lecherous cad with an eye for quick money and the easy life". Eric Sykes, with whom Terry-Thomas shared a number of screen moments, said it was "always the same character and always funny". Andrew Spicer, writing for the British Film Institute, called him "the definitive postwar cad or rotter". Terry-Thomas himself agreed with the view he presented, writing in the 1980s that "T-T with his permanent air of caddish disdain ... bounder ... aristocratic rogue ... upper-class English twit ... genuine English eccentric ... one of the last real gentlemen ... wet, genteel Englishman ... high-bred idiot ... cheeky blighter ... camel-haired cad ... amiable buffoon ... pompous Englishman ... twentieth-century dandy ... stinker ... king of the cads ... All those descriptions added up to my image as Terry-Thomas".

Terry-Thomas identified himself as a comedy actor, but regarded himself "first and foremost, as a comedian with a built-in ability to inject humour into situations". He worked hard at the humour element, especially during his days in cabaret and revue; he wrote that he "spent an enormous amount of time studying how to write humour and reading books on the philosophical approach to it, but it didn't get me very far. I decided that humour was like a good watch. It would go well if left to do its job but the moment one started poking around, it went wonky". While working on his television series "How do you View?", he would change lines around to ensure the scene worked well, even if he gave the best lines to others; it was a quality which was appreciated by a number of others, including Jack Lemmon, who appeared with Terry-Thomas in "How to Murder Your Wife". Lemmon commented that "like most really good professionals he was generous to fellow actors. He worked with you, not at you".

Terry-Thomas identified himself as a comedy actor, but regarded himself "first and foremost, as a comedian with a built-in ability to inject humour into situations". He worked hard at the humour element, especially during his days in cabaret and revue; he wrote that he "spent an enormous amount of time studying how to write humour and reading books on the philosophical approach to it, but it didn't get me very far. I decided that humour was like a good watch. It would go well if left to do its job but the moment one started poking around, it went wonky". While working on his television series "How do you View?", he would change lines around to ensure the scene worked well, even if he gave the best lines to others; it was a quality which was appreciated by a number of others, including Jack Lemmon, who appeared with Terry-Thomas in "How to Murder Your Wife". Lemmon commented that "like most really good professionals he was generous to fellow actors. He worked with you, not at you".

Before starting filming or making an entrance on stage, Terry-Thomas had a routine he would undertake: "my own technique to get myself going was ... to jump in the air and execute a few dance steps". His approach for much of his film work was to underplay many of his reactions. Filming a scene in a cinema in "Private's Progress", a close-up was needed showing his character "registering shock, fury, indignation and anything else I could stuff in"; he "just looked into the camera and kept my mind blank. It's a trick I've used often since. In this way, the audience does the work". Terry-Thomas said "I like to do my own stunts", which he did for films such as "A Matter of WHO" and "Bachelor Flat". This included some dangerous work; for example, during "Those Magnificent Men in their Flying Machines", he ran along the roof of a moving train.

Before starting filming or making an entrance on stage, Terry-Thomas had a routine he would undertake: "my own technique to get myself going was ... to jump in the air and execute a few dance steps". His approach for much of his film work was to underplay many of his reactions. Filming a scene in a cinema in "Private's Progress", a close-up was needed showing his character "registering shock, fury, indignation and anything else I could stuff in"; he "just looked into the camera and kept my mind blank. It's a trick I've used often since. In this way, the audience does the work". Terry-Thomas said "I like to do my own stunts", which he did for films such as "A Matter of WHO" and "Bachelor Flat". This included some dangerous work; for example, during "Those Magnificent Men in their Flying Machines", he ran along the roof of a moving train.

Following Terry-Thomas's death, Lionel Jeffries called him "the last of the great gentlemen of the cinema", while the director Michael Winner commented that "no matter what your position was in relation to his, as the star he was always terribly nice. He was the kindest man and he enjoyed life so much". Reviewing his career in "The Guardian", Adrian Turner considered that "we took him for granted and he was ideal for his time. Not to put too serious a point on it, his portrayal of crass stupidity and blatant deviousness struck a chord with British audiences during the fifties as they experienced the clumsy dismemberment of the Empire and the 'never had it so good' ethos of the Macmillan era. During the sixties he became a glorious anachronism, much in demand in America, who saw in him the irrelevant pageantry of Britain"; he also said Terry-Thomas was "a national treasure". Gilbert Adair, writing in "The Independent", considered that "for three decades, and in literally scores of films, he personified the Englishman as amiable bounder"; Adair wrote that "the characterisation he was to assume represented the very essence of patrician, double-barrelled caddishness". Terry-Thomas's friend Jack Lemmon called him "a consummate professional ... he was a gentleman, a delight to be with personally, let alone professionally, and above all as an actor he had one of the qualities that I admire so much—he made it look simple".

Following Terry-Thomas's death, Lionel Jeffries called him "the last of the great gentlemen of the cinema", while the director Michael Winner commented that "no matter what your position was in relation to his, as the star he was always terribly nice. He was the kindest man and he enjoyed life so much". Reviewing his career in "The Guardian", Adrian Turner considered that "we took him for granted and he was ideal for his time. Not to put too serious a point on it, his portrayal of crass stupidity and blatant deviousness struck a chord with British audiences during the fifties as they experienced the clumsy dismemberment of the Empire and the 'never had it so good' ethos of the Macmillan era. During the sixties he became a glorious anachronism, much in demand in America, who saw in him the irrelevant pageantry of Britain"; he also said Terry-Thomas was "a national treasure". Gilbert Adair, writing in "The Independent", considered that "for three decades, and in literally scores of films, he personified the Englishman as amiable bounder"; Adair wrote that "the characterisation he was to assume represented the very essence of patrician, double-barrelled caddishness". Terry-Thomas's friend Jack Lemmon called him "a consummate professional ... he was a gentleman, a delight to be with personally, let alone professionally, and above all as an actor he had one of the qualities that I admire so much—he made it look simple".

Following Terry-Thomas's death, Lionel Jeffries called him "the last of the great gentlemen of the cinema", while the director Michael Winner commented that "no matter what your position was in relation to his, as the star he was always terribly nice. He was the kindest man and he enjoyed life so much". Reviewing his career in "The Guardian", Adrian Turner considered that "we took him for granted and he was ideal for his time. Not to put too serious a point on it, his portrayal of crass stupidity and blatant deviousness struck a chord with British audiences during the fifties as they experienced the clumsy dismemberment of the Empire and the 'never had it so good' ethos of the Macmillan era. During the sixties he became a glorious anachronism, much in demand in America, who saw in him the irrelevant pageantry of Britain"; he also said Terry-Thomas was "a national treasure". Gilbert Adair, writing in "The Independent", considered that "for three decades, and in literally scores of films, he personified the Englishman as amiable bounder"; Adair wrote that "the characterisation he was to assume represented the very essence of patrician, double-barrelled caddishness". Terry-Thomas's friend Jack Lemmon called him "a consummate professional ... he was a gentleman, a delight to be with personally, let alone professionally, and above all as an actor he had one of the qualities that I admire so much—he made it look simple".

Following Terry-Thomas's death, Lionel Jeffries called him "the last of the great gentlemen of the cinema", while the director Michael Winner commented that "no matter what your position was in relation to his, as the star he was always terribly nice. He was the kindest man and he enjoyed life so much". Reviewing his career in "The Guardian", Adrian Turner considered that "we took him for granted and he was ideal for his time. Not to put too serious a point on it, his portrayal of crass stupidity and blatant deviousness struck a chord with British audiences during the fifties as they experienced the clumsy dismemberment of the Empire and the 'never had it so good' ethos of the Macmillan era. During the sixties he became a glorious anachronism, much in demand in America, who saw in him the irrelevant pageantry of Britain"; he also said Terry-Thomas was "a national treasure". Gilbert Adair, writing in "The Independent", considered that "for three decades, and in literally scores of films, he personified the Englishman as amiable bounder"; Adair wrote that "the characterisation he was to assume represented the very essence of patrician, double-barrelled caddishness". Terry-Thomas's friend Jack Lemmon called him "a consummate professional ... he was a gentleman, a delight to be with personally, let alone professionally, and above all as an actor he had one of the qualities that I admire so much—he made it look simple".

Terry-Thomas's image of an English cad was used by others. The personification started in the 1960s when the voice actor Ivan Owen, who had worked alongside Terry-Thomas in "Stars in Battledress", based the voice for Basil Brush on that of Terry-Thomas, in a characterisation which also copied Terry-Thomas's "penchant for bad, self-satisfied, golf-club-bore jokes". The 1960s also witnessed the fictional cartoon character Dick Dastardly in two Hanna-Barbera cartoon series ("Wacky Races" and "Dastardly and Muttley in Their Flying Machines"), who was inspired by Terry-Thomas.

Terry-Thomas's image of an English cad was used by others. The personification started in the 1960s when the voice actor Ivan Owen, who had worked alongside Terry-Thomas in "Stars in Battledress", based the voice for Basil Brush on that of Terry-Thomas, in a characterisation which also copied Terry-Thomas's "penchant for bad, self-satisfied, golf-club-bore jokes". The 1960s also witnessed the fictional cartoon character Dick Dastardly in two Hanna-Barbera cartoon series ("Wacky Races" and "Dastardly and Muttley in Their Flying Machines"), who was inspired by Terry-Thomas.

Terry-Thomas's image of an English cad was used by others. The personification started in the 1960s when the voice actor Ivan Owen, who had worked alongside Terry-Thomas in "Stars in Battledress", based the voice for Basil Brush on that of Terry-Thomas, in a characterisation which also copied Terry-Thomas's "penchant for bad, self-satisfied, golf-club-bore jokes". The 1960s also witnessed the fictional cartoon character Dick Dastardly in two Hanna-Barbera cartoon series ("Wacky Races" and "Dastardly and Muttley in Their Flying Machines"), who was inspired by Terry-Thomas.

Terry-Thomas's image of an English cad was used by others. The personification started in the 1960s when the voice actor Ivan Owen, who had worked alongside Terry-Thomas in "Stars in Battledress", based the voice for Basil Brush on that of Terry-Thomas, in a characterisation which also copied Terry-Thomas's "penchant for bad, self-satisfied, golf-club-bore jokes". The 1960s also witnessed the fictional cartoon character Dick Dastardly in two Hanna-Barbera cartoon series ("Wacky Races" and "Dastardly and Muttley in Their Flying Machines"), who was inspired by Terry-Thomas.

Some of the innovations Terry-Thomas brought into his earlier television programmes were later copied by others; "How Do You View?" later provided the "prologue" format of "Up Pompeii!", and was the first to use regular BBC announcers as foils in comic sketches—a practice continued later, particularly with the shows of Morecambe and Wise. Terry-Thomas's anecdotes, stringing several stories together, later inspired Ronnie Corbett in his monologue spot in his series "The Two Ronnies". In 2014, BBC Radio 4 broadcast "Memories of a Cad", a comedy drama by Roy Smiles about the relationship between Terry-Thomas and Richard Briers, played by Martin Jarvis and Alistair McGowan respectively.

Some of the innovations Terry-Thomas brought into his earlier television programmes were later copied by others; "How Do You View?" later provided the "prologue" format of "Up Pompeii!", and was the first to use regular BBC announcers as foils in comic sketches—a practice continued later, particularly with the shows of Morecambe and Wise. Terry-Thomas's anecdotes, stringing several stories together, later inspired Ronnie Corbett in his monologue spot in his series "The Two Ronnies". In 2014, BBC Radio 4 broadcast "Memories of a Cad", a comedy drama by Roy Smiles about the relationship between Terry-Thomas and Richard Briers, played by Martin Jarvis and Alistair McGowan respectively.

Some of the innovations Terry-Thomas brought into his earlier television programmes were later copied by others; "How Do You View?" later provided the "prologue" format of "Up Pompeii!", and was the first to use regular BBC announcers as foils in comic sketches—a practice continued later, particularly with the shows of Morecambe and Wise. Terry-Thomas's anecdotes, stringing several stories together, later inspired Ronnie Corbett in his monologue spot in his series "The Two Ronnies". In 2014, BBC Radio 4 broadcast "Memories of a Cad", a comedy drama by Roy Smiles about the relationship between Terry-Thomas and Richard Briers, played by Martin Jarvis and Alistair McGowan respectively.

Some of the innovations Terry-Thomas brought into his earlier television programmes were later copied by others; "How Do You View?" later provided the "prologue" format of "Up Pompeii!", and was the first to use regular BBC announcers as foils in comic sketches—a practice continued later, particularly with the shows of Morecambe and Wise. Terry-Thomas's anecdotes, stringing several stories together, later inspired Ronnie Corbett in his monologue spot in his series "The Two Ronnies". In 2014, BBC Radio 4 broadcast "Memories of a Cad", a comedy drama by Roy Smiles about the relationship between Terry-Thomas and Richard Briers, played by Martin Jarvis and Alistair McGowan respectively.

On the day of the sinking, "Rhone"s Master, Frederick Woolley, was slightly worried by the dropping barometer and darkening clouds, but because it was October and hurricane season was thought to be over, "Rhone" and "Conway" stayed in Great Harbour. The storm which subsequently hit was later known as the San Narciso Hurricane and retrospectively categorised as a Category 3 hurricane on the Saffir–Simpson Hurricane Scale. The first half of the storm passed without much event or damage, but the ferocity of the storm worried the captains of "Conway" and "Rhone", as their anchors had dragged and they worried that when the storm came back after the eye of the storm had passed over, they would be driven onto the shore of Peter Island.

On the day of the sinking, "Rhone"s Master, Frederick Woolley, was slightly worried by the dropping barometer and darkening clouds, but because it was October and hurricane season was thought to be over, "Rhone" and "Conway" stayed in Great Harbour. The storm which subsequently hit was later known as the San Narciso Hurricane and retrospectively categorised as a Category 3 hurricane on the Saffir–Simpson Hurricane Scale. The first half of the storm passed without much event or damage, but the ferocity of the storm worried the captains of "Conway" and "Rhone", as their anchors had dragged and they worried that when the storm came back after the eye of the storm had passed over, they would be driven onto the shore of Peter Island.

On the day of the sinking, "Rhone"s Master, Frederick Woolley, was slightly worried by the dropping barometer and darkening clouds, but because it was October and hurricane season was thought to be over, "Rhone" and "Conway" stayed in Great Harbour. The storm which subsequently hit was later known as the San Narciso Hurricane and retrospectively categorised as a Category 3 hurricane on the Saffir–Simpson Hurricane Scale. The first half of the storm passed without much event or damage, but the ferocity of the storm worried the captains of "Conway" and "Rhone", as their anchors had dragged and they worried that when the storm came back after the eye of the storm had passed over, they would be driven onto the shore of Peter Island.

On the day of the sinking, "Rhone"s Master, Frederick Woolley, was slightly worried by the dropping barometer and darkening clouds, but because it was October and hurricane season was thought to be over, "Rhone" and "Conway" stayed in Great Harbour. The storm which subsequently hit was later known as the San Narciso Hurricane and retrospectively categorised as a Category 3 hurricane on the Saffir–Simpson Hurricane Scale. The first half of the storm passed without much event or damage, but the ferocity of the storm worried the captains of "Conway" and "Rhone", as their anchors had dragged and they worried that when the storm came back after the eye of the storm had passed over, they would be driven onto the shore of Peter Island.

"Conway" got away before "Rhone" but was caught by the tail end of the storm, and eventually foundered off the south side of Tortola. But "Rhone" struggled to get free as her anchor was caught fast. It was ordered to be cut loose, and lies in Great Harbour to this day, with its chain wrapped around the same coral head that trapped it a century and a half ago. Time was now critical, and Captain Woolley decided that it would be best to try to escape to the shelter of open sea by the easiest route, between Black Rock Point of Salt Island and Dead Chest Island. Between those two islands lay Blonde Rock, an underwater reef which was normally a safe depth of , but during hurricane swells, there was a risk that "Rhone" might founder on that. The Captain took a conservative course, giving Blonde Rock (which cannot be seen from the surface) a wide berth.

"Conway" got away before "Rhone" but was caught by the tail end of the storm, and eventually foundered off the south side of Tortola. But "Rhone" struggled to get free as her anchor was caught fast. It was ordered to be cut loose, and lies in Great Harbour to this day, with its chain wrapped around the same coral head that trapped it a century and a half ago. Time was now critical, and Captain Woolley decided that it would be best to try to escape to the shelter of open sea by the easiest route, between Black Rock Point of Salt Island and Dead Chest Island. Between those two islands lay Blonde Rock, an underwater reef which was normally a safe depth of , but during hurricane swells, there was a risk that "Rhone" might founder on that. The Captain took a conservative course, giving Blonde Rock (which cannot be seen from the surface) a wide berth.

"Conway" got away before "Rhone" but was caught by the tail end of the storm, and eventually foundered off the south side of Tortola. But "Rhone" struggled to get free as her anchor was caught fast. It was ordered to be cut loose, and lies in Great Harbour to this day, with its chain wrapped around the same coral head that trapped it a century and a half ago. Time was now critical, and Captain Woolley decided that it would be best to try to escape to the shelter of open sea by the easiest route, between Black Rock Point of Salt Island and Dead Chest Island. Between those two islands lay Blonde Rock, an underwater reef which was normally a safe depth of , but during hurricane swells, there was a risk that "Rhone" might founder on that. The Captain took a conservative course, giving Blonde Rock (which cannot be seen from the surface) a wide berth.

"Conway" got away before "Rhone" but was caught by the tail end of the storm, and eventually foundered off the south side of Tortola. But "Rhone" struggled to get free as her anchor was caught fast. It was ordered to be cut loose, and lies in Great Harbour to this day, with its chain wrapped around the same coral head that trapped it a century and a half ago. Time was now critical, and Captain Woolley decided that it would be best to try to escape to the shelter of open sea by the easiest route, between Black Rock Point of Salt Island and Dead Chest Island. Between those two islands lay Blonde Rock, an underwater reef which was normally a safe depth of , but during hurricane swells, there was a risk that "Rhone" might founder on that. The Captain took a conservative course, giving Blonde Rock (which cannot be seen from the surface) a wide berth.

However, just as "Rhone" was passing Black Rock Point, less than from safety, the second half of the hurricane came around from the south. The winds shifted to the opposite direction and "Rhone" was thrown directly into Black Rock Point. It is said that the initial lurch of the crash sent Captain Woolley overboard, never to be seen again. Local legend says that his teaspoon can still be seen lodged into the wreck itself. Whether or not it is his, a teaspoon is clearly visible entrenched in the wreck's coral. The ship broke in two, and cold seawater made contact with her hot boilers which had been running at full steam, causing them to explode.

However, just as "Rhone" was passing Black Rock Point, less than from safety, the second half of the hurricane came around from the south. The winds shifted to the opposite direction and "Rhone" was thrown directly into Black Rock Point. It is said that the initial lurch of the crash sent Captain Woolley overboard, never to be seen again. Local legend says that his teaspoon can still be seen lodged into the wreck itself. Whether or not it is his, a teaspoon is clearly visible entrenched in the wreck's coral. The ship broke in two, and cold seawater made contact with her hot boilers which had been running at full steam, causing them to explode.

However, just as "Rhone" was passing Black Rock Point, less than from safety, the second half of the hurricane came around from the south. The winds shifted to the opposite direction and "Rhone" was thrown directly into Black Rock Point. It is said that the initial lurch of the crash sent Captain Woolley overboard, never to be seen again. Local legend says that his teaspoon can still be seen lodged into the wreck itself. Whether or not it is his, a teaspoon is clearly visible entrenched in the wreck's coral. The ship broke in two, and cold seawater made contact with her hot boilers which had been running at full steam, causing them to explode.

However, just as "Rhone" was passing Black Rock Point, less than from safety, the second half of the hurricane came around from the south. The winds shifted to the opposite direction and "Rhone" was thrown directly into Black Rock Point. It is said that the initial lurch of the crash sent Captain Woolley overboard, never to be seen again. Local legend says that his teaspoon can still be seen lodged into the wreck itself. Whether or not it is his, a teaspoon is clearly visible entrenched in the wreck's coral. The ship broke in two, and cold seawater made contact with her hot boilers which had been running at full steam, causing them to explode.

The ship sank swiftly, the bow section in of water, the stern in . Of the approximately 145 crew and passengers on board, twenty-five people survived the wreck. The bodies of many of the sailors were buried in a nearby cemetery on Salt Island which remained relatively unchanged until being destroyed by Hurricane Irma in 2017. A long held belief that due to her mast sticking out of the water, and her shallow depth, she was deemed a hazard by the Royal Navy in the 1950s and her stern section was blown up, was refuted by "Twice She Struck" author Dr. Michael D. Kent. Kent's research indicated that "Rhone" was blown up during salvage by hardhat diver Jeremiah Murphy and that the bow section, made famous by Jacqueline Bisset, had probably rolled during another hurricane in 1924.

The ship sank swiftly, the bow section in of water, the stern in . Of the approximately 145 crew and passengers on board, twenty-five people survived the wreck. The bodies of many of the sailors were buried in a nearby cemetery on Salt Island which remained relatively unchanged until being destroyed by Hurricane Irma in 2017. A long held belief that due to her mast sticking out of the water, and her shallow depth, she was deemed a hazard by the Royal Navy in the 1950s and her stern section was blown up, was refuted by "Twice She Struck" author Dr. Michael D. Kent. Kent's research indicated that "Rhone" was blown up during salvage by hardhat diver Jeremiah Murphy and that the bow section, made famous by Jacqueline Bisset, had probably rolled during another hurricane in 1924.

The ship sank swiftly, the bow section in of water, the stern in . Of the approximately 145 crew and passengers on board, twenty-five people survived the wreck. The bodies of many of the sailors were buried in a nearby cemetery on Salt Island which remained relatively unchanged until being destroyed by Hurricane Irma in 2017. A long held belief that due to her mast sticking out of the water, and her shallow depth, she was deemed a hazard by the Royal Navy in the 1950s and her stern section was blown up, was refuted by "Twice She Struck" author Dr. Michael D. Kent. Kent's research indicated that "Rhone" was blown up during salvage by hardhat diver Jeremiah Murphy and that the bow section, made famous by Jacqueline Bisset, had probably rolled during another hurricane in 1924.

The ship sank swiftly, the bow section in of water, the stern in . Of the approximately 145 crew and passengers on board, twenty-five people survived the wreck. The bodies of many of the sailors were buried in a nearby cemetery on Salt Island which remained relatively unchanged until being destroyed by Hurricane Irma in 2017. A long held belief that due to her mast sticking out of the water, and her shallow depth, she was deemed a hazard by the Royal Navy in the 1950s and her stern section was blown up, was refuted by "Twice She Struck" author Dr. Michael D. Kent. Kent's research indicated that "Rhone" was blown up during salvage by hardhat diver Jeremiah Murphy and that the bow section, made famous by Jacqueline Bisset, had probably rolled during another hurricane in 1924.

"Rhone" has received a number of citations and awards over the years as one of the top recreational wreck dives in the Caribbean, both for its historical interest and teeming marine life, and also because of the open and relatively safe nature of the wreckage. Very little of the wreckage is still enclosed, and where overhead environments do exist, they are large and roomy and have openings at either end permitting a swim through, so there is no real penetration diving for which divers usually undergo advanced training.

"Rhone" has received a number of citations and awards over the years as one of the top recreational wreck dives in the Caribbean, both for its historical interest and teeming marine life, and also because of the open and relatively safe nature of the wreckage. Very little of the wreckage is still enclosed, and where overhead environments do exist, they are large and roomy and have openings at either end permitting a swim through, so there is no real penetration diving for which divers usually undergo advanced training.

"Rhone" has received a number of citations and awards over the years as one of the top recreational wreck dives in the Caribbean, both for its historical interest and teeming marine life, and also because of the open and relatively safe nature of the wreckage. Very little of the wreckage is still enclosed, and where overhead environments do exist, they are large and roomy and have openings at either end permitting a swim through, so there is no real penetration diving for which divers usually undergo advanced training.

"Rhone" has received a number of citations and awards over the years as one of the top recreational wreck dives in the Caribbean, both for its historical interest and teeming marine life, and also because of the open and relatively safe nature of the wreckage. Very little of the wreckage is still enclosed, and where overhead environments do exist, they are large and roomy and have openings at either end permitting a swim through, so there is no real penetration diving for which divers usually undergo advanced training.

The wreck has been well treated over the years. There used to be a full set of wrenches (spanners), still visible on the deep part (each wrench being about long and weighing over ). In recent decades the largest of these were stolen by a collector, leaving only the smaller wrenches. Also remaining are a few brass portholes and even a silver teaspoon. The remaining wrenches are under of water. Similarly the wreck features the "lucky porthole", a brass porthole in the stern section which survived the storm intact and remains shiny by divers rubbing it for good luck. This porthole is considered "lucky" because the glass still survives. For many years a popular resident of the wreck was a Goliath grouper also known as a Jew fish, but two ex-pat fishermen with spear guns killed it despite spear guns being illegal for non-nationals and the area being a national park. Today the wreck is visited by hundreds of tourists every day, most of whom are more circumspect in their treatment of the site.

The wreck has been well treated over the years. There used to be a full set of wrenches (spanners), still visible on the deep part (each wrench being about long and weighing over ). In recent decades the largest of these were stolen by a collector, leaving only the smaller wrenches. Also remaining are a few brass portholes and even a silver teaspoon. The remaining wrenches are under of water. Similarly the wreck features the "lucky porthole", a brass porthole in the stern section which survived the storm intact and remains shiny by divers rubbing it for good luck. This porthole is considered "lucky" because the glass still survives. For many years a popular resident of the wreck was a Goliath grouper also known as a Jew fish, but two ex-pat fishermen with spear guns killed it despite spear guns being illegal for non-nationals and the area being a national park. Today the wreck is visited by hundreds of tourists every day, most of whom are more circumspect in their treatment of the site.

The wreck has been well treated over the years. There used to be a full set of wrenches (spanners), still visible on the deep part (each wrench being about long and weighing over ). In recent decades the largest of these were stolen by a collector, leaving only the smaller wrenches. Also remaining are a few brass portholes and even a silver teaspoon. The remaining wrenches are under of water. Similarly the wreck features the "lucky porthole", a brass porthole in the stern section which survived the storm intact and remains shiny by divers rubbing it for good luck. This porthole is considered "lucky" because the glass still survives. For many years a popular resident of the wreck was a Goliath grouper also known as a Jew fish, but two ex-pat fishermen with spear guns killed it despite spear guns being illegal for non-nationals and the area being a national park. Today the wreck is visited by hundreds of tourists every day, most of whom are more circumspect in their treatment of the site.

The wreck has been well treated over the years. There used to be a full set of wrenches (spanners), still visible on the deep part (each wrench being about long and weighing over ). In recent decades the largest of these were stolen by a collector, leaving only the smaller wrenches. Also remaining are a few brass portholes and even a silver teaspoon. The remaining wrenches are under of water. Similarly the wreck features the "lucky porthole", a brass porthole in the stern section which survived the storm intact and remains shiny by divers rubbing it for good luck. This porthole is considered "lucky" because the glass still survives. For many years a popular resident of the wreck was a Goliath grouper also known as a Jew fish, but two ex-pat fishermen with spear guns killed it despite spear guns being illegal for non-nationals and the area being a national park. Today the wreck is visited by hundreds of tourists every day, most of whom are more circumspect in their treatment of the site.

Unity Temple is a Unitarian Universalist church in Oak Park, Illinois, and the home of the Unity Temple Unitarian Universalist Congregation. It was designed by the American architect Frank Lloyd Wright, and built between 1905 and 1908. Unity Temple is considered to be one of Wright's most important structures dating from the first decade of the twentieth century. Because of its consolidation of aesthetic intent and structure through use of a single material, reinforced concrete, Unity Temple is considered by many architects to be the first modern building in the world. This idea became of central importance to the modern architects who followed Wright, such as Ludwig Mies van der Rohe, and even the post-modernists, such as Frank Gehry. In 2019, along with seven other buildings designed by Wright in the 20th century, Unity Temple was added to the UNESCO World Heritage List.

Unity Temple is a Unitarian Universalist church in Oak Park, Illinois, and the home of the Unity Temple Unitarian Universalist Congregation. It was designed by the American architect Frank Lloyd Wright, and built between 1905 and 1908. Unity Temple is considered to be one of Wright's most important structures dating from the first decade of the twentieth century. Because of its consolidation of aesthetic intent and structure through use of a single material, reinforced concrete, Unity Temple is considered by many architects to be the first modern building in the world. This idea became of central importance to the modern architects who followed Wright, such as Ludwig Mies van der Rohe, and even the post-modernists, such as Frank Gehry. In 2019, along with seven other buildings designed by Wright in the 20th century, Unity Temple was added to the UNESCO World Heritage List.

To accommodate the needs of the congregation, Wright divided the community space from the temple space through a low, middle loggia that could be approached from either side. This was an efficient use of space and kept down on noise between the two main gathering areas: those coming for religious services would be separated via the loggia from those coming for community events. The plan of Wright's design looks back to the bipartite design of his own studio built several blocks away in 1898: with two portions of the building similar in composition and separated by a lower passageway, and one section being larger than the other (the Guggenheim Museum in New York City is another bipartite design). Also for the Temple's architecture, Wright borrowed several attributes from his previous creation, the Larkin Administration Building. Key features derived were use of stained glass windows as well as geometric figure. But, unlike the Larkin Building, the Temple's plan produced a perfect square, as opposed to the double-square rectangle of the Larkin.

To accommodate the needs of the congregation, Wright divided the community space from the temple space through a low, middle loggia that could be approached from either side. This was an efficient use of space and kept down on noise between the two main gathering areas: those coming for religious services would be separated via the loggia from those coming for community events. The plan of Wright's design looks back to the bipartite design of his own studio built several blocks away in 1898: with two portions of the building similar in composition and separated by a lower passageway, and one section being larger than the other (the Guggenheim Museum in New York City is another bipartite design). Also for the Temple's architecture, Wright borrowed several attributes from his previous creation, the Larkin Administration Building. Key features derived were use of stained glass windows as well as geometric figure. But, unlike the Larkin Building, the Temple's plan produced a perfect square, as opposed to the double-square rectangle of the Larkin.

To accommodate the needs of the congregation, Wright divided the community space from the temple space through a low, middle loggia that could be approached from either side. This was an efficient use of space and kept down on noise between the two main gathering areas: those coming for religious services would be separated via the loggia from those coming for community events. The plan of Wright's design looks back to the bipartite design of his own studio built several blocks away in 1898: with two portions of the building similar in composition and separated by a lower passageway, and one section being larger than the other (the Guggenheim Museum in New York City is another bipartite design). Also for the Temple's architecture, Wright borrowed several attributes from his previous creation, the Larkin Administration Building. Key features derived were use of stained glass windows as well as geometric figure. But, unlike the Larkin Building, the Temple's plan produced a perfect square, as opposed to the double-square rectangle of the Larkin.

To accommodate the needs of the congregation, Wright divided the community space from the temple space through a low, middle loggia that could be approached from either side. This was an efficient use of space and kept down on noise between the two main gathering areas: those coming for religious services would be separated via the loggia from those coming for community events. The plan of Wright's design looks back to the bipartite design of his own studio built several blocks away in 1898: with two portions of the building similar in composition and separated by a lower passageway, and one section being larger than the other (the Guggenheim Museum in New York City is another bipartite design). Also for the Temple's architecture, Wright borrowed several attributes from his previous creation, the Larkin Administration Building. Key features derived were use of stained glass windows as well as geometric figure. But, unlike the Larkin Building, the Temple's plan produced a perfect square, as opposed to the double-square rectangle of the Larkin.

To reduce noise from the street, Wright eliminated street level windows in the temple. Instead, natural light comes from stained glass windows in the roof and clerestories along the upper walls. Because the members of the parish would not be able to look outside, Unity Temple's stained glass was designed with green, yellow, and brown tones in order to evoke the colors of nature. The main floor of the temple rises a few steps above the main level of the building (which has seating space), and the room also has two balconies for the seating of the congregation. These varying seating levels allowed the architect to design a building to fit the size of the congregation, but efficiently: no one person in the congregation is more than 40 feet from the pulpit. Wright also designed the building with very good acoustics.

To reduce noise from the street, Wright eliminated street level windows in the temple. Instead, natural light comes from stained glass windows in the roof and clerestories along the upper walls. Because the members of the parish would not be able to look outside, Unity Temple's stained glass was designed with green, yellow, and brown tones in order to evoke the colors of nature. The main floor of the temple rises a few steps above the main level of the building (which has seating space), and the room also has two balconies for the seating of the congregation. These varying seating levels allowed the architect to design a building to fit the size of the congregation, but efficiently: no one person in the congregation is more than 40 feet from the pulpit. Wright also designed the building with very good acoustics.

To reduce noise from the street, Wright eliminated street level windows in the temple. Instead, natural light comes from stained glass windows in the roof and clerestories along the upper walls. Because the members of the parish would not be able to look outside, Unity Temple's stained glass was designed with green, yellow, and brown tones in order to evoke the colors of nature. The main floor of the temple rises a few steps above the main level of the building (which has seating space), and the room also has two balconies for the seating of the congregation. These varying seating levels allowed the architect to design a building to fit the size of the congregation, but efficiently: no one person in the congregation is more than 40 feet from the pulpit. Wright also designed the building with very good acoustics.

To reduce noise from the street, Wright eliminated street level windows in the temple. Instead, natural light comes from stained glass windows in the roof and clerestories along the upper walls. Because the members of the parish would not be able to look outside, Unity Temple's stained glass was designed with green, yellow, and brown tones in order to evoke the colors of nature. The main floor of the temple rises a few steps above the main level of the building (which has seating space), and the room also has two balconies for the seating of the congregation. These varying seating levels allowed the architect to design a building to fit the size of the congregation, but efficiently: no one person in the congregation is more than 40 feet from the pulpit. Wright also designed the building with very good acoustics.

Since the beginning of the 1980s, Cheap Trick saw increasing pressure from their label, Epic Records, to produce material that was more commercial. The band achieved their first Top 40 album since 1982, with "Standing on the Edge" in 1985. For that album, the band had planned on returning to the rough sound of their 1977 debut, but producer Jack Douglas backed out of mixing process due to the legal issues he was having with Yoko Ono. Mixer Tony Platt was called in, and as a result, the album featured keyboards and electronic drums more prominently than the band and Douglas had intended. For the follow-up album, Platt was hired as producer and he opted for the dominant use of commercial-sounding synthesizers. "The Doctor" was released in November 1986, but did not live up to commercial expectations. It initially sold 88,000 copies and peaked at No. 115 on the U.S. "Billboard" 200, remaining in the charts for nine weeks.

Since the beginning of the 1980s, Cheap Trick saw increasing pressure from their label, Epic Records, to produce material that was more commercial. The band achieved their first Top 40 album since 1982, with "Standing on the Edge" in 1985. For that album, the band had planned on returning to the rough sound of their 1977 debut, but producer Jack Douglas backed out of mixing process due to the legal issues he was having with Yoko Ono. Mixer Tony Platt was called in, and as a result, the album featured keyboards and electronic drums more prominently than the band and Douglas had intended. For the follow-up album, Platt was hired as producer and he opted for the dominant use of commercial-sounding synthesizers. "The Doctor" was released in November 1986, but did not live up to commercial expectations. It initially sold 88,000 copies and peaked at No. 115 on the U.S. "Billboard" 200, remaining in the charts for nine weeks.

Since the beginning of the 1980s, Cheap Trick saw increasing pressure from their label, Epic Records, to produce material that was more commercial. The band achieved their first Top 40 album since 1982, with "Standing on the Edge" in 1985. For that album, the band had planned on returning to the rough sound of their 1977 debut, but producer Jack Douglas backed out of mixing process due to the legal issues he was having with Yoko Ono. Mixer Tony Platt was called in, and as a result, the album featured keyboards and electronic drums more prominently than the band and Douglas had intended. For the follow-up album, Platt was hired as producer and he opted for the dominant use of commercial-sounding synthesizers. "The Doctor" was released in November 1986, but did not live up to commercial expectations. It initially sold 88,000 copies and peaked at No. 115 on the U.S. "Billboard" 200, remaining in the charts for nine weeks.

Since the beginning of the 1980s, Cheap Trick saw increasing pressure from their label, Epic Records, to produce material that was more commercial. The band achieved their first Top 40 album since 1982, with "Standing on the Edge" in 1985. For that album, the band had planned on returning to the rough sound of their 1977 debut, but producer Jack Douglas backed out of mixing process due to the legal issues he was having with Yoko Ono. Mixer Tony Platt was called in, and as a result, the album featured keyboards and electronic drums more prominently than the band and Douglas had intended. For the follow-up album, Platt was hired as producer and he opted for the dominant use of commercial-sounding synthesizers. "The Doctor" was released in November 1986, but did not live up to commercial expectations. It initially sold 88,000 copies and peaked at No. 115 on the U.S. "Billboard" 200, remaining in the charts for nine weeks.

During the same month, the lead single "It's Only Love" was released, but failed to enter the Billboard Hot 100 Singles Chart. Despite its commercial failure, the song's promotional video made history as the first music video to prominently use American Sign Language. "Kiss Me Red" was originally supposed to be the lead single in America, although it was released as a promotional 12" vinyl release there. Instead of a full release in America, the song was released as a single in the Netherlands, but also failed to chart.

During the same month, the lead single "It's Only Love" was released, but failed to enter the Billboard Hot 100 Singles Chart. Despite its commercial failure, the song's promotional video made history as the first music video to prominently use American Sign Language. "Kiss Me Red" was originally supposed to be the lead single in America, although it was released as a promotional 12" vinyl release there. Instead of a full release in America, the song was released as a single in the Netherlands, but also failed to chart.

During the same month, the lead single "It's Only Love" was released, but failed to enter the Billboard Hot 100 Singles Chart. Despite its commercial failure, the song's promotional video made history as the first music video to prominently use American Sign Language. "Kiss Me Red" was originally supposed to be the lead single in America, although it was released as a promotional 12" vinyl release there. Instead of a full release in America, the song was released as a single in the Netherlands, but also failed to chart.

During the same month, the lead single "It's Only Love" was released, but failed to enter the Billboard Hot 100 Singles Chart. Despite its commercial failure, the song's promotional video made history as the first music video to prominently use American Sign Language. "Kiss Me Red" was originally supposed to be the lead single in America, although it was released as a promotional 12" vinyl release there. Instead of a full release in America, the song was released as a single in the Netherlands, but also failed to chart.

The album's material was mainly written by guitarist Rick Nielsen and vocalist Robin Zander. Although Nielsen was usually the sole songwriter during the band's early years, Zander began contributing more prominently to the songwriting since "Standing on the Edge". "Kiss Me Red" was the only song to be written by outside songwriters; Billy Steinberg and Tom Kelly. The song "Man-U-Lip-U-Lator" featured an additional writing credit to Platt, while the title track was written solely by Nielsen and became the last song to have sole credit to him on a Cheap Trick album. The demo version of the song later surfaced on the band's 1996 box set "Sex, America, Cheap Trick", where it was titled "Funk #9".

The album's material was mainly written by guitarist Rick Nielsen and vocalist Robin Zander. Although Nielsen was usually the sole songwriter during the band's early years, Zander began contributing more prominently to the songwriting since "Standing on the Edge". "Kiss Me Red" was the only song to be written by outside songwriters; Billy Steinberg and Tom Kelly. The song "Man-U-Lip-U-Lator" featured an additional writing credit to Platt, while the title track was written solely by Nielsen and became the last song to have sole credit to him on a Cheap Trick album. The demo version of the song later surfaced on the band's 1996 box set "Sex, America, Cheap Trick", where it was titled "Funk #9".

The album's material was mainly written by guitarist Rick Nielsen and vocalist Robin Zander. Although Nielsen was usually the sole songwriter during the band's early years, Zander began contributing more prominently to the songwriting since "Standing on the Edge". "Kiss Me Red" was the only song to be written by outside songwriters; Billy Steinberg and Tom Kelly. The song "Man-U-Lip-U-Lator" featured an additional writing credit to Platt, while the title track was written solely by Nielsen and became the last song to have sole credit to him on a Cheap Trick album. The demo version of the song later surfaced on the band's 1996 box set "Sex, America, Cheap Trick", where it was titled "Funk #9".

The album's material was mainly written by guitarist Rick Nielsen and vocalist Robin Zander. Although Nielsen was usually the sole songwriter during the band's early years, Zander began contributing more prominently to the songwriting since "Standing on the Edge". "Kiss Me Red" was the only song to be written by outside songwriters; Billy Steinberg and Tom Kelly. The song "Man-U-Lip-U-Lator" featured an additional writing credit to Platt, while the title track was written solely by Nielsen and became the last song to have sole credit to him on a Cheap Trick album. The demo version of the song later surfaced on the band's 1996 box set "Sex, America, Cheap Trick", where it was titled "Funk #9".

"The Doctor" has gained much criticism for Platt's production. In the band's 1998 biography "Reputation is a Fragile Thing", the production was described as "busy" and "claustrophobic", although it was noted that the single "It's Only Love" had a more straightforward production. Speaking to the "Ocala Star-Banner", Zander later mentioned the album in relation to the departure of bassist Tom Petersson in 1980: "We carried on because we enjoy what we do. But there was some element missing. Some of our records were so obscure that some people might have had a hard time understanding them. We do records for ourselves, and sometimes they're a little too self-indulgent. "The Doctor" was definitely too self-indulgent. We recorded that in three weeks. You can run into trouble doing that." Nielsen, talking to "Phoenix New Times" later said of "Kiss Me Red": "I think we made some dogs. I hated one song we did called "Kiss Me Red." We were almost forced to do it by the record company. We thought it was gonna be a big flop. It bombed."

"The Doctor" has gained much criticism for Platt's production. In the band's 1998 biography "Reputation is a Fragile Thing", the production was described as "busy" and "claustrophobic", although it was noted that the single "It's Only Love" had a more straightforward production. Speaking to the "Ocala Star-Banner", Zander later mentioned the album in relation to the departure of bassist Tom Petersson in 1980: "We carried on because we enjoy what we do. But there was some element missing. Some of our records were so obscure that some people might have had a hard time understanding them. We do records for ourselves, and sometimes they're a little too self-indulgent. "The Doctor" was definitely too self-indulgent. We recorded that in three weeks. You can run into trouble doing that." Nielsen, talking to "Phoenix New Times" later said of "Kiss Me Red": "I think we made some dogs. I hated one song we did called "Kiss Me Red." We were almost forced to do it by the record company. We thought it was gonna be a big flop. It bombed."

"The Doctor" has gained much criticism for Platt's production. In the band's 1998 biography "Reputation is a Fragile Thing", the production was described as "busy" and "claustrophobic", although it was noted that the single "It's Only Love" had a more straightforward production. Speaking to the "Ocala Star-Banner", Zander later mentioned the album in relation to the departure of bassist Tom Petersson in 1980: "We carried on because we enjoy what we do. But there was some element missing. Some of our records were so obscure that some people might have had a hard time understanding them. We do records for ourselves, and sometimes they're a little too self-indulgent. "The Doctor" was definitely too self-indulgent. We recorded that in three weeks. You can run into trouble doing that." Nielsen, talking to "Phoenix New Times" later said of "Kiss Me Red": "I think we made some dogs. I hated one song we did called "Kiss Me Red." We were almost forced to do it by the record company. We thought it was gonna be a big flop. It bombed."

"The Doctor" has gained much criticism for Platt's production. In the band's 1998 biography "Reputation is a Fragile Thing", the production was described as "busy" and "claustrophobic", although it was noted that the single "It's Only Love" had a more straightforward production. Speaking to the "Ocala Star-Banner", Zander later mentioned the album in relation to the departure of bassist Tom Petersson in 1980: "We carried on because we enjoy what we do. But there was some element missing. Some of our records were so obscure that some people might have had a hard time understanding them. We do records for ourselves, and sometimes they're a little too self-indulgent. "The Doctor" was definitely too self-indulgent. We recorded that in three weeks. You can run into trouble doing that." Nielsen, talking to "Phoenix New Times" later said of "Kiss Me Red": "I think we made some dogs. I hated one song we did called "Kiss Me Red." We were almost forced to do it by the record company. We thought it was gonna be a big flop. It bombed."

Drummer Bun E. Carlos said to the "Erie Times-News" in 1997 that he didn't care for "low points" like "The Doctor" and "Standing on the Edge". Speaking to "Punkglobe" in 2012, he said of the album: "The production in the 80's the drums got really gimmicky, and we weren't getting along great with the record company. Jon was playing bass, so that made Cheap Trick not sound like they used to, as much. And, they aren't great records. "The Doctor" is just pretty much a bad 80's album. The record company would call us up and say "we gotta have keyboards on it!"

Drummer Bun E. Carlos said to the "Erie Times-News" in 1997 that he didn't care for "low points" like "The Doctor" and "Standing on the Edge". Speaking to "Punkglobe" in 2012, he said of the album: "The production in the 80's the drums got really gimmicky, and we weren't getting along great with the record company. Jon was playing bass, so that made Cheap Trick not sound like they used to, as much. And, they aren't great records. "The Doctor" is just pretty much a bad 80's album. The record company would call us up and say "we gotta have keyboards on it!"

Drummer Bun E. Carlos said to the "Erie Times-News" in 1997 that he didn't care for "low points" like "The Doctor" and "Standing on the Edge". Speaking to "Punkglobe" in 2012, he said of the album: "The production in the 80's the drums got really gimmicky, and we weren't getting along great with the record company. Jon was playing bass, so that made Cheap Trick not sound like they used to, as much. And, they aren't great records. "The Doctor" is just pretty much a bad 80's album. The record company would call us up and say "we gotta have keyboards on it!"

Drummer Bun E. Carlos said to the "Erie Times-News" in 1997 that he didn't care for "low points" like "The Doctor" and "Standing on the Edge". Speaking to "Punkglobe" in 2012, he said of the album: "The production in the 80's the drums got really gimmicky, and we weren't getting along great with the record company. Jon was playing bass, so that made Cheap Trick not sound like they used to, as much. And, they aren't great records. "The Doctor" is just pretty much a bad 80's album. The record company would call us up and say "we gotta have keyboards on it!"

Following the album's failure, the band would make a commercial comeback with their next studio album "Lap of Luxury" in 1988, which also featured the return of Petersson on bass, making "The Doctor" the last Cheap Trick album to feature bassist Jon Brant. "Take Me to the Top" is the only song from "The Doctor" that has been performed live since promotion for the album ended. It was most notably performed acoustically at the band's 25th Anniversary concert, which was released as a CD and DVD titled "Silver". The show featured at least one track from each of the band's albums, and after the song finished Nielsen commented to the audience "Now who said "The Doctor" was a bad album? Only every critic in the United States but what do they know?"

Following the album's failure, the band would make a commercial comeback with their next studio album "Lap of Luxury" in 1988, which also featured the return of Petersson on bass, making "The Doctor" the last Cheap Trick album to feature bassist Jon Brant. "Take Me to the Top" is the only song from "The Doctor" that has been performed live since promotion for the album ended. It was most notably performed acoustically at the band's 25th Anniversary concert, which was released as a CD and DVD titled "Silver". The show featured at least one track from each of the band's albums, and after the song finished Nielsen commented to the audience "Now who said "The Doctor" was a bad album? Only every critic in the United States but what do they know?"

Following the album's failure, the band would make a commercial comeback with their next studio album "Lap of Luxury" in 1988, which also featured the return of Petersson on bass, making "The Doctor" the last Cheap Trick album to feature bassist Jon Brant. "Take Me to the Top" is the only song from "The Doctor" that has been performed live since promotion for the album ended. It was most notably performed acoustically at the band's 25th Anniversary concert, which was released as a CD and DVD titled "Silver". The show featured at least one track from each of the band's albums, and after the song finished Nielsen commented to the audience "Now who said "The Doctor" was a bad album? Only every critic in the United States but what do they know?"

Following the album's failure, the band would make a commercial comeback with their next studio album "Lap of Luxury" in 1988, which also featured the return of Petersson on bass, making "The Doctor" the last Cheap Trick album to feature bassist Jon Brant. "Take Me to the Top" is the only song from "The Doctor" that has been performed live since promotion for the album ended. It was most notably performed acoustically at the band's 25th Anniversary concert, which was released as a CD and DVD titled "Silver". The show featured at least one track from each of the band's albums, and after the song finished Nielsen commented to the audience "Now who said "The Doctor" was a bad album? Only every critic in the United States but what do they know?"

In an early 1986 interview with "MTV"'s Alan Hunter, Nielsen mentioned that the band had just recorded the song "Mighty Wings" for the "Top Gun" soundtrack, and were getting ready for the upcoming recording of "The Doctor". He revealed: "We're doing another album, our 12th album, we're doing it with Tony Platt, the guy who mixed our last record. We're gonna record the basic tracks in the mid-West, and then we're gonna go to England and mix over there, and do the guitars and vocals. We just finished a song in the studio last night with Harold Faltermeyer, recording a song for his movie called "Top Gun" which has Tom Cruise in it, and so the song we did was called "Mighty Wings". We didn't write it but we did it, and it sounds pretty cool. That's coming out this summer."

In an early 1986 interview with "MTV"'s Alan Hunter, Nielsen mentioned that the band had just recorded the song "Mighty Wings" for the "Top Gun" soundtrack, and were getting ready for the upcoming recording of "The Doctor". He revealed: "We're doing another album, our 12th album, we're doing it with Tony Platt, the guy who mixed our last record. We're gonna record the basic tracks in the mid-West, and then we're gonna go to England and mix over there, and do the guitars and vocals. We just finished a song in the studio last night with Harold Faltermeyer, recording a song for his movie called "Top Gun" which has Tom Cruise in it, and so the song we did was called "Mighty Wings". We didn't write it but we did it, and it sounds pretty cool. That's coming out this summer."

During the recording of the album, a number of demos were also recorded. Three of these, "Money Is the Route of All Fun," "Fortune Cookie" and "Funk #9" later appeared on the 1996 box-set "Sex, America, Cheap Trick". Two numbers remain officially unreleased; "Temptation" and "Dance to the Drummer", while an alternate version of the album track "Name of the Game" appeared on a "Trickfest II" prize cassette. "Money Is the Route of All Fun" featured Roy Wood of The Move.

During the recording of the album, a number of demos were also recorded. Three of these, "Money Is the Route of All Fun," "Fortune Cookie" and "Funk #9" later appeared on the 1996 box-set "Sex, America, Cheap Trick". Two numbers remain officially unreleased; "Temptation" and "Dance to the Drummer", while an alternate version of the album track "Name of the Game" appeared on a "Trickfest II" prize cassette. "Money Is the Route of All Fun" featured Roy Wood of The Move.

The band embarked on a tour during late 1986 and early 1987 in America. On the tour, the band performed a few new songs from the album: "It's Up to You," "Rearview Mirror Romance," "Are You Lonely Tonight," "Kiss Me Red," and "It's Only Love". The song "Mighty Wings" was also played live during this time. On the tour, Nielsen used a custom-made "The Doctor" guitar, which he continued to occasionally use at concerts into the late 1980s. The guitar also featured in the "It's Only Love" music video. It was made by Jim Morahan of Morahan Custom Guitars.

The band embarked on a tour during late 1986 and early 1987 in America. On the tour, the band performed a few new songs from the album: "It's Up to You," "Rearview Mirror Romance," "Are You Lonely Tonight," "Kiss Me Red," and "It's Only Love". The song "Mighty Wings" was also played live during this time. On the tour, Nielsen used a custom-made "The Doctor" guitar, which he continued to occasionally use at concerts into the late 1980s. The guitar also featured in the "It's Only Love" music video. It was made by Jim Morahan of Morahan Custom Guitars.

Upon release, "Cash Box" said: "Like Heart last year, it's time to think seriously about a huge comeback record for Cheap Trick. "The Doctor" could be it. Cheap Trick's zany teen appeal has coalesced into a modern rock vision with its roots in hard pop. The Tony Platt/Paul Klingberg mix gives the record a cool, contemporary edge and the songs are some of Rick Nielsen's and Robin Zander's best." "Billboard" noted that "It's Up to You" and "It's Only Love" were "top single contenders". Jim Higgins of "The Milwaukee Sentinel" commented: ""The Doctor" is superficially similar to the band's finest recordings, "Live at Budokan", "Heaven Tonight" and "In Color". All are collections of simple hard rock songs with Beatles-like harmonies and plenty of Nielsen guitar playing. But "The Doctor" lacks the spark of brilliance that infused the better albums."

Upon release, "Cash Box" said: "Like Heart last year, it's time to think seriously about a huge comeback record for Cheap Trick. "The Doctor" could be it. Cheap Trick's zany teen appeal has coalesced into a modern rock vision with its roots in hard pop. The Tony Platt/Paul Klingberg mix gives the record a cool, contemporary edge and the songs are some of Rick Nielsen's and Robin Zander's best." "Billboard" noted that "It's Up to You" and "It's Only Love" were "top single contenders". Jim Higgins of "The Milwaukee Sentinel" commented: ""The Doctor" is superficially similar to the band's finest recordings, "Live at Budokan", "Heaven Tonight" and "In Color". All are collections of simple hard rock songs with Beatles-like harmonies and plenty of Nielsen guitar playing. But "The Doctor" lacks the spark of brilliance that infused the better albums."

Steven Wine of "Spokane Chronicle" wrote: "Cheap Trick's early albums were fun because the band produced a heavy sound with a light touch. No more. Layers of keyboards and programmed drums bury Rick Nielsen's high-voltage guitar style and Bun E. Carlos' propulsive drumming. "The Doctor" is not without merit. Nielsen and singer Robin Zander know a thing or two about songwriting, and every cut on Side 1 has a soaring melody. Unfortunately, the building momentum mistracks on the side's final song, "Name of the Game," which sounds like a Foreigner reject. It's all downhill on Side 2. The topic throughout is love, and not even "Rearview Mirror Romance" has anything interesting to say about it. Cheap Trick needs to rediscover its sense of humor and four-track tape recorder." Kevin Davis of "Fort Lauderdale News" said: "Cheap Trick fans will be glad to know the band is still the same loud, hard-rocking, guitar-driven trio that first became popular almost 10 years ago. The band packs a lot of that early energy in their latest album, "The Doctor". The album does have some clever songs such as "Rearview Mirror Romance", a solid guitar-heavy tune about falling in love with a strange driver. "The Doctor" contains no extraordinary material or ground-breaking work from Cheap Trick, but instead works on their usual formula - basic hard rock."

Steven Wine of "Spokane Chronicle" wrote: "Cheap Trick's early albums were fun because the band produced a heavy sound with a light touch. No more. Layers of keyboards and programmed drums bury Rick Nielsen's high-voltage guitar style and Bun E. Carlos' propulsive drumming. "The Doctor" is not without merit. Nielsen and singer Robin Zander know a thing or two about songwriting, and every cut on Side 1 has a soaring melody. Unfortunately, the building momentum mistracks on the side's final song, "Name of the Game," which sounds like a Foreigner reject. It's all downhill on Side 2. The topic throughout is love, and not even "Rearview Mirror Romance" has anything interesting to say about it. Cheap Trick needs to rediscover its sense of humor and four-track tape recorder." Kevin Davis of "Fort Lauderdale News" said: "Cheap Trick fans will be glad to know the band is still the same loud, hard-rocking, guitar-driven trio that first became popular almost 10 years ago. The band packs a lot of that early energy in their latest album, "The Doctor". The album does have some clever songs such as "Rearview Mirror Romance", a solid guitar-heavy tune about falling in love with a strange driver. "The Doctor" contains no extraordinary material or ground-breaking work from Cheap Trick, but instead works on their usual formula - basic hard rock."

In a retrospective review, Stephen Thomas Erlewine of AllMusic said: "If any one record sums up all the ludicrous indulgence of '80s record-making it's "The Doctor". Cluttered with cacophonic electronic drums and clanking with cheap overdriven synths, the record is cavernous and hollow, every instrument echoing endlessly in a fathomless digital stage. As sonic archaeology, this holds some interest, as it contains every bad record production idea of the mid-'80s - it's as garish as its record cover." Erlewine recommended "It's Up to You" and "Good Girls Go to Heaven (Bad Girls Go Everywhere)" by highlighting them as AMG Track Picks.

In a retrospective review, Stephen Thomas Erlewine of AllMusic said: "If any one record sums up all the ludicrous indulgence of '80s record-making it's "The Doctor". Cluttered with cacophonic electronic drums and clanking with cheap overdriven synths, the record is cavernous and hollow, every instrument echoing endlessly in a fathomless digital stage. As sonic archaeology, this holds some interest, as it contains every bad record production idea of the mid-'80s - it's as garish as its record cover." Erlewine recommended "It's Up to You" and "Good Girls Go to Heaven (Bad Girls Go Everywhere)" by highlighting them as AMG Track Picks.

Nagle was born in North Sydney. Because of five-and-a-half years of World War II military service (1939–45), Nagle got a late start on pro golf, as he played no golf between ages 19 and 24, and turned pro at age 25 (1946). He made up for lost time by winning at least one tournament each year from 1949 to 1975. During his early career, he had a long swing and was regarded as the longest hitter on the Australasia tour, as evidenced by the Australian press dubbing him as "the Pymble Crusher". By age 39 (in 1960, when he won The Open Championship), Nagle had shortened his swing and become a straight hitter with what Gary Player described as "the best short game out here".

Nagle was born in North Sydney. Because of five-and-a-half years of World War II military service (1939–45), Nagle got a late start on pro golf, as he played no golf between ages 19 and 24, and turned pro at age 25 (1946). He made up for lost time by winning at least one tournament each year from 1949 to 1975. During his early career, he had a long swing and was regarded as the longest hitter on the Australasia tour, as evidenced by the Australian press dubbing him as "the Pymble Crusher". By age 39 (in 1960, when he won The Open Championship), Nagle had shortened his swing and become a straight hitter with what Gary Player described as "the best short game out here".

Although he had won over 30 tournaments in Australia, and had won the Canada Cup for Australia in partnership with five-time Open champion Peter Thomson in 1954 and 1959, Nagle was a shock winner of The Open, as he was 39 years old but had never finished in the top-10 at a major championship before. Thomson told Nagle a few weeks prior to the 1960 Open championship that he "had the game" to win and that "you can beat me". He beat the rising star of American golf Arnold Palmer into second place, and it was Palmer who deprived him of his title in 1961. Although he never regained The Open title, Kel Nagle had six top-five finishes at the Open between 1960 and 1966 (ages 39 to 45). His best result in a United States major was second in the 1965 U.S. Open—the year after he won the Canadian Open—when he and Gary Player finished the 72-hole tournament in a tie. Nagle lost to Player the next day in an 18-hole playoff, during which Nagle hit a female spectator in the forehead on the fifth hole and was visibly affected to the point that he hit another spectator on the same hole. Player won the playoff by 3 strokes.

Although he had won over 30 tournaments in Australia, and had won the Canada Cup for Australia in partnership with five-time Open champion Peter Thomson in 1954 and 1959, Nagle was a shock winner of The Open, as he was 39 years old but had never finished in the top-10 at a major championship before. Thomson told Nagle a few weeks prior to the 1960 Open championship that he "had the game" to win and that "you can beat me". He beat the rising star of American golf Arnold Palmer into second place, and it was Palmer who deprived him of his title in 1961. Although he never regained The Open title, Kel Nagle had six top-five finishes at the Open between 1960 and 1966 (ages 39 to 45). His best result in a United States major was second in the 1965 U.S. Open—the year after he won the Canadian Open—when he and Gary Player finished the 72-hole tournament in a tie. Nagle lost to Player the next day in an 18-hole playoff, during which Nagle hit a female spectator in the forehead on the fifth hole and was visibly affected to the point that he hit another spectator on the same hole. Player won the playoff by 3 strokes.

As late as 1970, the year he turned 50, Nagle was ranked among the top ten players in the world on the McCormack's World Golf Rankings, the forerunner of the modern world ranking system. Nagle played on the Senior PGA Tour (now Champions Tour) in the U.S. in the 1980s, when he was in his 60s and early 70s. His best finishes were a pair of T-3s: at the 1981 Eureka Federal Savings Classic and the 1982 Peter Jackson Champions. In his final round at the 1982 Charlie Pride Invitational (Four Hills CC Albuquerque, NM), he "shot his age" of 71. In July 2007, Nagle was elected to the World Golf Hall of Fame, and was inducted in November 2007.

As late as 1970, the year he turned 50, Nagle was ranked among the top ten players in the world on the McCormack's World Golf Rankings, the forerunner of the modern world ranking system. Nagle played on the Senior PGA Tour (now Champions Tour) in the U.S. in the 1980s, when he was in his 60s and early 70s. His best finishes were a pair of T-3s: at the 1981 Eureka Federal Savings Classic and the 1982 Peter Jackson Champions. In his final round at the 1982 Charlie Pride Invitational (Four Hills CC Albuquerque, NM), he "shot his age" of 71. In July 2007, Nagle was elected to the World Golf Hall of Fame, and was inducted in November 2007.

With pleiotropy, some genes control multiple traits, so that adaptation of one trait is impeded by effects on other traits that are not necessarily adaptive. Selection that influences epistasis is a case where the regulation or expression of one gene, depends on one or several others. This is true for a good number of genes though to differing extents. The reason why this leads to muddied responses is that selection for a trait that is epistatically based can mean that an allele for a gene that is epistatic when selected would happen to affect others. This leads to the coregulation of others for a reason other than there is an adaptive quality to each of those traits. Like with pleiotropy, traits could reach fixation in a population as a by-product of selection for another.

With pleiotropy, some genes control multiple traits, so that adaptation of one trait is impeded by effects on other traits that are not necessarily adaptive. Selection that influences epistasis is a case where the regulation or expression of one gene, depends on one or several others. This is true for a good number of genes though to differing extents. The reason why this leads to muddied responses is that selection for a trait that is epistatically based can mean that an allele for a gene that is epistatic when selected would happen to affect others. This leads to the coregulation of others for a reason other than there is an adaptive quality to each of those traits. Like with pleiotropy, traits could reach fixation in a population as a by-product of selection for another.

These links are hard if not impossible to break because evolution usually requires that anatomy be formed by small consecutive modifications in populations through generations. In his book, "Why We Get Sick", Randolph Nesse uses the "blind spot" in the vertebrate eye (caused by the nerve fibers running through the retina) as an example of this. He argues that natural selection has come up with an elaborate work-around of the eyes wobbling back-and-forth to correct for this, but vertebrates have not found the solution embodied in cephalopod eyes, where the optic nerve does not interrupt the view. See also: Evolution of the eye.

These links are hard if not impossible to break because evolution usually requires that anatomy be formed by small consecutive modifications in populations through generations. In his book, "Why We Get Sick", Randolph Nesse uses the "blind spot" in the vertebrate eye (caused by the nerve fibers running through the retina) as an example of this. He argues that natural selection has come up with an elaborate work-around of the eyes wobbling back-and-forth to correct for this, but vertebrates have not found the solution embodied in cephalopod eyes, where the optic nerve does not interrupt the view. See also: Evolution of the eye.

There were 213 households, of which 23.9% had children under the age of 18 living with them, 48.4% were married couples living together, 13.1% had a female householder with no husband present, 2.3% had a male householder with no wife present, and 36.2% were non-families. 31.0% of all households were made up of individuals, and 10.8% had someone living alone who was 65 years of age or older. The average household size was 2.26 and the average family size was 2.83.

There were 213 households, of which 23.9% had children under the age of 18 living with them, 48.4% were married couples living together, 13.1% had a female householder with no husband present, 2.3% had a male householder with no wife present, and 36.2% were non-families. 31.0% of all households were made up of individuals, and 10.8% had someone living alone who was 65 years of age or older. The average household size was 2.26 and the average family size was 2.83.