title: Arranged marriage

text: Child marriage, particularly 12 years old for mens, 9 years old for girls because they are entering teenages. Sperm production in men and menstrual period in women begin at these ages. Does not prepare or provide the individual much opportunity to make an informed, free choice about matrimony. These child marriages are implicitly arranged marriages. In rural areas of East Asia, Sub-Saharan Africa, South Asia and Latin America, poverty and lack of options, such as being able to attend school, leave little choice to children other than be in early arranged marriages. Child marriages are primarily seen in areas of poverty. Parents arrange child marriages to ensure their child's financial security and reinforce social ties. They believe it offers protection and reduces the daughter's economic burden on the family due to how costly it is to feed, clothe and (optionally) educate a girl. By marrying their daughter to a good family, the parents improve their social status by establishing a social bond between each other.


title: Arranged marriage

text: According to Warner, in nations with the high rates of child marriages, the marriage of the girl is almost always arranged by her parents or guardians. The nations with the highest rates of arranged child marriages are: Niger, Chad, Mali, Bangladesh, Guinea, Central African Republic, Afghanistan, Yemen, India and Pakistan. Arranged child marriages are also observed in parts of the Americas.


title: Arranged marriage

text: In impoverished communities, every adult mouth to feed becomes a continuing burden. In many of these cultures, women have difficulty finding gainful employment (or are simply prohibited from doing so), and their daughters become the greatest burden to the family. Some scholars argue that arranging a marriage of a daughter becomes a necessary means to reduce this burden. Poverty, thus, is a driver of arranged marriage.


title: Arranged marriage

text: This theory is supported by the observed rapid drop in arranged marriages in fast growing economies of Asia. The financial benefit parents receive from their working single daughters has been cited as a reason for their growing reluctance to see their daughters marry at too early an age.


title: Arranged marriage

text: Late marriage, particularly past the age of 30 years old, reduces the pool of available women for autonomous marriages. Introductions and arranged marriages become a productive option.


title: Arranged marriage

text: For example, in part due to economic prosperity, about 40% of modern Japanese women reach the age of 29 and have never been married. To assist late marriages, the traditional custom of arranged marriages called miai-kekkon is re-emerging. It involves the prospective bride and groom, family, friends and a matchmaker (nakōdo, 仲人); the pair is selected by a process with the individuals and family involved (iegara, 家柄). Typically the couple meets three times, in public or private, before deciding if they want to get engaged.


title: Arranged marriage

text: Migrant minority ethnic populations have limited choice of partners, particularly when they are stereotyped, segregated or avoided by the majority population. This encourages homogamy and arranged marriages within the ethnic group. Examples of this dynamic include Sikh marriages between 1910 and 1980 in Canada, arranged marriages among Hasidic Jews, and arranged marriages among Japanese American immigrants before the 1960s, who would travel back to Japan to marry the spouse arranged by the family, and then return married. In other cases, a girl from Japan would arrive in the United States as a "picture bride", pre-arranged to marry the Japanese American man on arrival, whom she had never met.


title: Arranged marriage

text: Arranged marriage may be the consequence of certain customs. For example, in rural and tribal parts of Pakistan and Afghanistan, disputes, unpaid debts in default and crimes such as murder are settled by a council of village elders, called "jirga". A typical punishment for a crime committed by males involves requiring the guilty family to marry their virgin girls between 5 and 12 year old to the other family. This custom requires no consent from the girl, or even her parents. Such arranged child marriages are called vani, swara and sak in different regional languages of Pakistan.


title: Arranged marriage

text: Another custom in certain Islamic nations, such as Pakistan, is watta satta, where a brother-sister pair of one family are swapped as spouses for a brother-sister pair of another family. In other words, the wife is also the sister-in-law for the males in two families. This custom inherently leads to arranged form of marriage. About 30% of all marriages in western rural regions of Pakistan are by custom "watta-satta" marriages, and 75% of these Muslim marriages are between cousins and other blood relatives. Some immigrant families prefer customary practice of arranged marriage.


title: Arranged marriage

text: Arranged marriages across feudal lords, city states and kingdoms, as a means of establishing political alliances, trade and peace were common in human history. When a king married his son to a neighboring state's daughter, it indicated an alliance among equals, and signaled the former's state superiority. For example, the fourth daughter of Maria Theresa, Archduchess of Austria and Queen of Hungary, Marie Antoinette, married the dauphin (crown prince) of France, who would become King Louis XVI.


title: Arranged marriage

text: Throughout most of human history, marriage has been a social institution that produced children and organized inheritance of property from one generation to next. Various cultures, particularly some wealthy royals and aristocratic families, arranged marriages in part to conserve or streamline the inheritance of their wealth.


title: Arranged marriage

text: Tongyangxi, also known as Shim-pua marriage in Taiwanese – literally child or little daughter-in-law – was a tradition of arranged marriage, in which a poor family would arrange and marry a pre-adolescent daughter into a richer family as a servant. The little girl provided slave-like free labor, and also the daughter-in-law to the adoptive family's son. This sort of arranged marriage, in theory, enabled the girl to escape poverty and the wealthy family to get free labor and a daughter-in-law. Zhaozhui was a related custom by which a wealthy family that lacked an heir would arrange marriage of a boy child from another family. The boy would move in with the wealthy family, take on the surname of the new family, and marry the family's daughter. Such arranged marriages helped maintain inheritance bloodlines. Similar matrilocal arranged marriages to preserve wealth inheritance were common in Korea, Japan and other parts of the world.


title: Arranged marriage

text: In many cultures, particularly in parts of Africa and the Middle East, daughters are valuable on the marriage market because the groom and his family have to (not must) pay cash or property for the right to marry the daughter. This is termed as bride-wealth and locally by various names such as Lobola and Wine Carrying. The bride-wealth is typically kept by the bride's family, after the marriage, and is a source of income to poor families. The brothers, father, and male relatives of the bride typically take keen interest in arranging her marriage to a man who is willing to pay the most wealth in exchange for the right to marry her.


title: Arranged marriage

text: Some religious denominations recognize marriages only within the faith. Of the major religions of the world, Islam forbids marriage of girls of a devout parent to a man who does not belong to that religion. In other words, Islam forbids marriage of Muslim girls to non-Muslim men, and the religious punishment for those who marry outside might be severe. This is one of the motivations of arranged marriages in Islamic minority populations in Europe.


title: Arranged marriage

text: Arranged marriage is practiced by members of the Apostolic Christian Church, an Anabaptist denomination of Christianity:


title: Arranged marriage

text: Since religion is important in the Hindu community, parents often find spouses that have the same religion for their children. When two people with different religions fall in love, one must convert to the other's religion, forsaking their own. It is socially unacceptable for people to intermarry, which is why parents arranging a marriage for their children will make sure they marry someone from the same faith. Hindus favor religious segregation, so many of them do not keep friendships with those from other religions. A study shows that 45% of Hindu's only have friends who have the same religion as them and 13 percent have friends with different religions. This trains children to only desire to be around those of the same religion since intermingling of religious friendships and marriages are not too common. Furthermore, the people must marry within their caste system and most have a specific type of religion. They are taught this from a young age and it is considered one of the most important rules. When love outside of a person's caste happens, the parents sometimes threaten to kill the lover. Families fear of the opinions of the public is another reason why parents forbid their children from marrying outside their caste. The lowest, known as the untouchables, are seen as unclean and they are not even allowed to walk past someone from a higher caste because of fear that they will defile them.


title: Arranged marriage

text: Arranged marriages are actively debated between scholars. The questions debated include whether arranged marriages are being used to abuse international immigration system, to inherently violate human rights, particularly women's rights, if they yield more stable marriages for raising children, the next generation, and whether there is more or less loving, respectful relationship for the married couple.


title: Arranged marriage

text: In the United Kingdom, public discussion has questioned whether international arranged marriages are a sham without the intention that the spouses will live as a couple, a convenient means to get residency and European citizenship to some male or female immigrants, who would otherwise be denied a visa to enter the country. These fears have been stoked by observed divorces once the minimum married residence period requirement is met. MP Ann Cryer has alleged examples of such abuse by West Asian Muslim families in her motion to the UK's House of Commons. The United States has seen a similar controversy with sham arranged marriages.


title: Arranged marriage

text: Various international organizations, including UNICEF, have campaigned for laws to ban arranged marriages of children, as well as forced marriages. Article 15 and 16 of "The Convention on the Elimination of All Forms of Discrimination Against Women" (CEDAW) specifically cover marriage and family law, which support such as ban.


title: Arranged marriage

text: Arranged marriages are a matter of debate and disagreements. Activists, such as Charlotte Bunch, suggest that marriages arranged by parents and other family members typically assume heterosexual preference and involve emotional pressure; this drives some individuals into marriages that they consent under duress. Bunch suggests that all marriages should be autonomous.


title: Arranged marriage

text: In contrast, preventing arranged marriages may harm many individuals who want to get married and can benefit from parental participation in finding and selecting a mate. For example, Willoughby suggests that arranged marriages work because they remove anxiety in process of finding the spouses. Parents, families and friends provide an independent perspective when they participate in learning and evaluating the other person, past history, behavior, as well as the couple's mutual compatibility. Willoughby further suggests that parents and family provide more than input in the screening and selection process; often, they provide financial support for the wedding, housing, emotional support and other valuable resources for the couple as they navigate past the wedding into married life, and help raise their children.


title: Arranged marriage

text: Michael Rosenfeld says that the differences between autonomous marriages and arranged marriages are empirically small; many people meet, date and choose to marry or cohabit with those who are similar in background, age, interests and social class they feel most similar to, screening factors most parents would have used for them anyway. Assuming the pool from which mates are screened and selected is large, Rosenfeld suggests that the differences between the two approaches to marriages are not as great as some imagine them to be. Others have expressed sentiments similar to Rosenfeld.


title: Arranged marriage

text: Divorce rates have climbed in the European Union and the United States with increase in autonomous marriage rates. The lowest divorce rates in the world are in cultures with high rates of arranged marriages such as Amish culture of United States (1%), Hindus of India (3%), and Ultra-Orthodox Jews of Israel (7%). According to a 2012 study by Statistic Brain, 53.25% of marriages are arranged worldwide. The global divorce rate for arranged marriages was 6.3%, which could be an indicator for the success rate of arranged marriages. This has led scholars to ask if arranged marriages are more stable than autonomous marriages, and whether this stability matters. Others suggest that the low divorce rate may not reflect stability, rather it may reflect the difficulty in the divorce process and social ostracism to the individuals, who choose to live in a dysfunctional marriage rather than face the consequences of a divorce. Also, the perception of high divorce rates attributed to self-arranged marriages in the United States is being called into question.


title: Arranged marriage

text: Various small sample surveys have been done to ascertain if arranged marriages or autonomous marriages have a more satisfying married life. The results are mixed – some state marriage satisfaction is higher in autonomous marriages, others find no significant differences. Johnson and Bachan have questioned the small sample size and conclusions derived from them.


title: Arranged marriage

text: Scholars ask whether love and respect in marital life is greater in arranged marriages than autonomous marriages. Epstein suggests that in many arranged marriages, love emerges over time. Neither autonomous nor arranged marriages offer any guarantees. Many arranged marriages also end up being cold and dysfunctional as well, with reports of abuse.


title: Red West

text: Robert Gene "Red" West (March 8, 1936 – July 18, 2017) was an American actor, film stuntman and songwriter. He was known for being a close confidant and bodyguard for rock and roll singer Elvis Presley. Upon his firing, West wrote the controversial "", in which he exposed the singer's dangerous drug dependence in an attempt to save him.


title: Red West

text: West was probably best known to American film audiences for his role as Red in "Road House", alongside Patrick Swayze. West appeared to critical acclaim in the 2008 independent film "Goodbye Solo" as William.


title: Red West

text: West was born in Memphis, Tennessee, to Lois and Newton Thomas West. West was the cousin of actor 'Sonny' West. While attending high school in Tennessee, West and Sonny met Elvis Presley.


title: Red West

text: An excellent athlete and U.S. Marine, West played football for his high school and junior college at Jones County Junior College teams and was a boxer in the Golden Gloves championships.


title: Red West

text: West collaborated with Elvis Presley two songs in 1961 and 1962, which Elvis got a token credit on, "That's Someone You Never Forget" and "You'll Be Gone".


title: Red West

text: "That's Someone You Never Forget" is the final track on the 1962 album "Pot Luck". The song was released as a 45-rpm B-side single in 1967 and features on the Artist of the Century compilation. "You'll Be Gone" is a bonus track on the "Girl Happy" soundtrack LP. West co-wrote "If You Think I Don't Need You" with Joey Cooper for the motion picture "Viva Las Vegas". He teamed up with Joey Cooper again on "I'm A Fool", which Ricky Nelson recorded, and which was later a hit for Dino, Desi and Billy (the partnership of Dean-Paul "Dino" Martin, Desi Arnaz Jr., and William "Billy" Hinsche).


title: Red West

text: West co wrote the song "Separate Ways" with Richard Mainegra for Elvis in 1972, and "If You Talk in Your Sleep" with Johnny Christopher for Presley's 1975 album "Promised Land". Red wrote "If Every Day Was Like Christmas", recorded by Presley in 1966.


title: Red West

text: In addition to writing for Elvis, Red had songs recorded by Pat Boone, Rick Nelson, Johnny Burnette, Johnny Rivers, Dino, Desi & Billy, Petula Clark, Gary Puckett & The Union Gap, Andre Kostelanetz and His Orchestra, and Little Milton, among others.


title: Red West

text: In 1976, West was criticized in the media for his involvement in a series of heavy-handed incidents with aggressive fans in Las Vegas. He was also becoming vocal about Presley needing help for his drug problem. Elvis's father, Vernon Presley, who hated the members of his son's entourage, fired West, his cousin Sonny, and bodyguard David Hebler.


title: Red West

text: The three subsequently wrote the book "", claiming to be an attempt to warn and obtain help for Elvis. Some suspected it was a retaliatory money-making exercise, but with Elvis' death within weeks of publication the book's claims proved accurate. Presley had offered the publisher $1,000,000 to stop printing the book.


title: Red West

text: When Presley was making films in the 1960s in Hollywood, Red West appeared in small roles in sixteen of the star's films. During this time, West became good friends with actor Nick Adams and his physical abilities got him hired on as a stuntman on Adams' television series, "The Rebel". From there, West went on to do more stunt work in film as well as developing a career as an actor in a number of motion pictures and on television. He was often on screen as a henchman in the television series "The Wild Wild West".


title: Red West

text: West also played the role of Sheriff Tanner of Alcorn County, Mississippi in the 1973 film "Walking Tall". He also reprised the role in the 1975 film "Walking Tall Part 2".


title: Red West

text: West also played the ornery, sometimes violent Master Sergeant Andy Micklin on "Baa Baa Black Sheep". He guest starred twice on the CBS hit detective series "Magnum, P.I." as different characters, as five different ones on "The A-Team", the "Knight Rider" pilot episode "Knight of the Phoenix", on "The Fall Guy", "Simon & Simon" and in "The Once and Future King", an episode of "The Twilight Zone" which concerned Presley..]In 1989 West appeared in the action film "Road House" with Patrick Swayze as Red Webster, the auto parts store owner.


title: Red West

text: West played the lead role in the 2008 independent film "Goodbye Solo" as William, an elderly depressed man who befriends a Senegalese man in Winston-Salem, North Carolina. The film received positive reviews and critic Roger Ebert remarked that "West isn't playing himself, but he evokes his character so fully that he might as well be. West's face is a map of hard living".


title: Red West

text: His last film role was in the 2013 film "Safe Haven" as Roger, an elderly store clerk in Southport, North Carolina.


title: Red West

text: West died on July 18, 2017, aged 81, from an aortic aneurysm, at the Baptist Hospital in his native Memphis.


title: Red West

text: His death occurred less than two months after the death of his cousin, actor Sonny West, in May 2017. His funeral and burial at Memorial Park Cemetery was held on July 24 in Memphis.


title: Red West

text: In John Carpenter's 1979 film "Elvis", West was portrayed by Robert Gray. West was also portrayed by his son John Boyd West in the 2005 Golden Globe winning CBS mini-series "Elvis" and in the 21st episode of the fifth season of "Quantum Leap", Memphis Melody.


The 2020 United States presidential election in Ohio was held on Tuesday, November 3, 2020, as part of the 2020 United States presidential election in which all 50 states plus the District of Columbia participated. Ohio voters chose electors to represent them in the Electoral College via a popular vote, pitting the Republican Party's nominee—incumbent President Donald Trump and his running mate, Vice President Mike Pence—against the Democratic Party nominee, former Vice President Joe Biden and his running mate, California Senator Kamala Harris. Ohio had 18 electoral votes in the Electoral College.


title: 2020 United States presidential election in Ohio

text: Trump won Ohio with 53.27% of the vote, while Biden received 45.24% of the vote, a margin of 8.03%. Trump won by nearly the same margin that he defeated Hillary Clinton by in 2016. This marked the first time that Ohio voted for the losing candidate since Richard Nixon in 1960, breaking a streak of the state voting for 14 consecutive winning candidates, and also the second consecutive election in which the state voted over 10 points to the right of the nation as a whole, confirming the state's trend towards the Republicans. Biden became the first Democrat since FDR in 1932 to win the White House without carrying the heavily unionized carmaking counties of Mahoning and Trumbull, the first Democrat since Harry Truman in 1948 to win the White House without carrying Lorain County, and the first Democrat since JFK in 1960 to win the White House without Ashtabula and Ottawa Counties. This is the first time since 1976 in which Ohio voted to the right of Texas - a state that last voted Democratic that year, while Ohio had backed Barack Obama in both of his elections. Also, this is the first time since 1892 that an incumbent president carried the state while losing reelection nationally. Trump won 81 of Ohio's 88 counties compared to 80 in 2016, the most since Ronald Reagan won 82 in 1984.


text: The primary elections were originally scheduled for March 17, 2020. However, on March 16, Ohio governor Mike DeWine recommended moving the primaries to June amid concerns over the COVID-19 pandemic. As the governor does not have the power to unilaterally make this decision, he went to court to request the delay. However, a judge rejected the lawsuit. Later in the day, the state's Health Director ordered the polls closed as a health emergency. On March 17, the Ohio Supreme Court allowed the primaries to be postponed to June 2. Then on March 25, in-person voting was canceled, and the deadline for mail-in voting was moved back to April 28.


text: Incumbent President Donald Trump ran unopposed in the Republican primary, and thus received all of Ohio's 82 delegates to the 2020 Republican National Convention.


text: Ohio, a Midwestern U.S. state, has been considered one of the most competitive states in said region in the early 21st century. For example, it was a vital tipping-point state in the heavily contested 2004 election, and its projection in 2012 put Barack Obama over the top in the Electoral College. After Trump won Ohio in 2016 by an unexpectedly large margin of 8 points, it was initially considered out of reach for Democrats. However, Democrats contested it after polling pointed to a possibly close result in 2020.


text: From 1964 through 2016, the Buckeye State had been a reliable bellwether, voting for the winner of every presidential election. In 2016, however, it voted over ten points to the right of the nation as a whole, indicating that it might be on the cusp of losing its bellwether status. And, indeed, in 2020, Ohio backed the losing nominee for the first time since it backed Richard Nixon in 1960, and, in doing so, voted over ten points to the right of the nation overall for the second time in a row, giving Trump a comfortable eight-point margin even as he lost nationally. This indicated that Ohio is likely following a similar path to that of Missouri, another former bellwether state in the Midwest that has more recently become reliably red. (Missouri voted for the winning candidate in every election from 1960 to 2004. Then, in 2008, it narrowly backed Republican John McCain despite the fact that he lost the election by a wide margin nationally, and in every election since it has voted Republican by a comfortable margin.) In this election, Ohio weighed in at 12.5% more Republican than the nation as a whole, even voting more Republican than Texas, a Southern state that has been a GOP stronghold for four decades.


text: While Biden outperformed Hillary Clinton in the Midwest at large, Trump managed to flip two Ohio counties Republican: Lorain, a suburban county of Cleveland, and Mahoning, anchored by the car-making town of Youngstown. Trump became the first Republican presidential candidate to win Lorain County since Ronald Reagan in 1984, and the first to win Mahoning County since Richard Nixon in 1972. Biden became the first Democrat since FDR in 1932 to win the White House without carrying Mahoning County and Trumbull County, and the first Democrat since Harry Truman in 1948 to win the White House without carrying Lorain County. On the other hand, Biden won back Montgomery County, home to Dayton, a county which Trump had flipped in 2016. He also came within 7 points of flipping suburban Delaware County in the Columbus area, the closest a Democrat has come to flipping it since 1964.


text: Biden's results were an all time-best for Democrats in two counties - Franklin, home to the state capital of Columbus, where he received 64.68% of the vote and beat Trump by 31 points, and Hamilton, home to Cincinnati, where he received 57.15% of the vote and beat Trump by 16 points—even greater than Franklin D. Roosevelt's and Lyndon B. Johnson's landslides. Biden's Delaware County result of 45.69% was a 56-year best, and in Warren County of suburban Cincinnati, his result was a 44-year best. He also outperformed Obama's 2012 results in Butler (Cincinnati suburbs) and Greene (Dayton suburbs) counties.


text: However, in all other counties, Biden underperformed Barack Obama's 2008 and 2012 results and occasionally also John Kerry's 2004 results. For example, in Athens County, home to Ohio University, which has been one of the Democrats' strongest counties that Obama won by 35 points in both 2008 and 2012, Biden improved Clinton's result by 1.5 percent, but Trump reduced his 2016 losing margin from 17 points to 15 points and managed to win 40% of the county's vote, the first Republican to do so since George H. W. Bush in 1988. Biden underperformed Clinton in the Northeast and Lake Erie area, also in the most populous counties - in addition to losing Mahoning and Lorain counties, although in Cuyahoga County, home to Cleveland, he improved Clinton's 2016 result by 1 point, his 34-point winning margin was one point worse than Clinton's, six points down from Obama's 2012 40-point and only 0.36 percent better than Kerry's in 2004. In Lucas County, home to Toledo, he improved Clinton's result by 1.5 percent, but at a 1 percent worse margin at 16.73%, a 32-year low for Democrats after Michael Dukakis won it by under 9 points in 1988. While in Summit County, home to Akron, he improved Clinton's result by 2.35 percent and the margin by 1 percent, at 9.5 percent it was still a far cry from Obama's 17-percent margin in 2008, and second-worst for Democrats since 1988. In Stark County, home to Canton, he improved Clinton's result by 1.25 percent, but his 1.35% worse losing margin of 18.51 percent was a 36-year low for Democrats, after Walter Mondale lost it by 20.18 percent in 1984.


text: This was the first presidential election in which a candidate received more than 3 million votes in Ohio.


text: Ohio is one of three states—the others being Iowa and Florida—that voted twice for Barack Obama and twice for Donald Trump.


text: Mahoning County, anchored by the car-making town of Youngstown, voted Republican for the first time since Richard Nixon's landslide re-election in 1972. The slim victory by Trump marked a collapse in Democrats' support among white working-class voters, and tightened the President's grip on blue-collar white voters.


text: David Betras, who was Democratic chairman of Mahoning County until 2019, speculated on the disconnect between Democrats in Washington who focused messaging Trump's unfitness for office, his taxes and possible impeachment, and the concerns of blue-collar workers were supporting Trump for his trade war with China, regardless of economic pain caused by tariffs.


title: Break a leg

text: "Break a leg" is a typical English idiom used in the context of theatre or other performing arts to wish a performer "good luck". An ironic or non-literal saying of uncertain origin (a dead metaphor), "break a leg" is commonly said to actors and musicians before they go on stage to perform or before an audition. Though the term likely originates in German, the English expression is first attributed in the 1930s or possibly 1920s, originally documented without specifically theatrical associations. Among professional dancers, the traditional saying is not "break a leg", but the French word ""merde"".


title: Break a leg

text: Most commonly favored as a credible theory by etymologists and other scholars, the term was possibly a loan translation from the similar German phrase , literally "neck and leg(bone) break", itself a loan translation from, and pun on, a Yiddish phrase (, ), a wish for good luck, because of the Yiddish phrase's humorously similar pronunciation to the unrelated German phrase. For example, the Luftwaffe are reported as using the phrase to wish each other luck and safety before a flight. The German-language term continues to mean "good luck" but is still not specific to the theatre.


title: Break a leg

text: The urbane Irish nationalist Robert Wilson Lynd published an article, "A Defence of Superstition", in the 1 October 1921 edition of the "New Statesman", a British liberal political and cultural magazine, regarding the theatre as the second-most superstitious institution in England, after horse racing. In horse racing, Lynd asserted that to wish a man luck is considered unlucky and so "You should say something insulting such as, 'May you break your leg! Thus, the expression could reflect a now-forgotten superstition (perhaps a theatrical superstition, though Lynd's 1921 mention is non-theatrical) in which directly wishing a person "good luck" would be considered bad luck, therefore an alternative way of wishing luck was employed. Lynd did not attribute the phrase in any way to theatre people, but he was familiar with many of them and frequently mingled with actors backstage.


title: Break a leg

text: The aforementioned theory regarding , a German saying via Yiddish origins, suggests that the term transferred from German aviation to German society at large and then, as early as the 1920s, into the American (or British and then American) theatre. The English translation of the term is probably explained by German-speaking Jewish immigrants entering the American entertainment industry after the First World War. The alternative theory that the term reflects an ironic superstition would date the term as originating around the same time.


title: Break a leg

text: The earliest published example in writing specifically within a theatre context comes from American writer Edna Ferber's 1939 autobiography "A Peculiar Treasure", in which she writes about the fascination in the theatre of "all the understudies sitting in the back row politely wishing the various principals would break a leg." American playwright Bernard Sobel's 1948 "The Theatre Handbook and Digest of Plays" describes theatrical superstitions: "before a performance actors never wish each other good luck, but say 'I hope you break a leg. There is some anecdotal evidence from theatrical memoirs and personal letters as early as the 1920s.


title: Break a leg

text: There is an older, likely unrelated meaning of "break a leg" going back to the 17th and 18th centuries that refers to having "a bastard / natural child."


title: Break a leg

text: Professional dancers do not wish each other good luck by saying "break a leg;" instead they say ""Merde!"", the French word for "shit". In turn, theater people have picked up this usage and may wish each other ""merde,"" alone or in combination with "break a leg." In Spanish, the phrase is ""mucha mierda,"" or "lots of shit." In Portuguese, it's ""muita merda,"" with the same meaning. This term refers to the times when carriages would take the audience to the theatre. A quick look to the street in front of the venue would tell if the play was successful: a lot of horse dung would mean many carriages had stopped to leave spectators.


title: Break a leg

text: Opera singers use ""Toi toi toi,"" an idiom used to ward off a spell or hex, often accompanied by knocking on wood, and onomatopoeic, spitting (or imitating the sound of spitting). Saliva traditionally was supposed to have demon-banishing powers. From Rotwelsch "tof", from Yiddish "tov" ("good," derived from the Hebrew טוב and with phonetic similarities to the Old German word for "Devil"). One explanation sees "toi toi toi" as the onomatopoeic rendition of spitting three times. Spitting three times over someone's head or shoulder is a gesture to ward off evil spirits. A similar-sounding expression for verbal spitting occurs in modern Hebrew as "Tfu, tfu" (here, only twice), which some say that Hebrew-speakers borrowed from Russian.


title: Break a leg

text: An alternate operatic good luck charm, originating from Italy, is the phrase ""in bocca al lupo!"" (""In the mouth of the wolf"") with the response ""Crepi il lupo!"" (""May the wolf die"")


title: Break a leg

text: In Australia, the term ""chookas"" has been used also. According to one oral tradition, one of the company would check audience numbers. If there were not many in the seats, the performers would have bread to eat following the performance. If the theatre was full they could then have "chook" —Australian slang for chicken— for dinner. Therefore, if it was a full house, the performer would call out "Chook it is!", which became abbreviated to "Chookas!" It is now used by performers prior to a show regardless of the number of patrons; and may be a wish for a successful turnout.


title: Break a leg

text: In Russian, a similar tradition existed for hunters, with one being told "" (romanized: "Ni pukha, ni pera", "Neither fur nor feather") before the hunt, with the reply being "" (romanized: "K chiortu", "Go to hell"). Today, this exchange is customary for students before an exam.


title: Break a leg

text: The 2001 Broadway musical comedy "The Producers" features a song titled "It's Bad Luck To Say 'Good Luck' On Opening Night," in which the novice producer Leo Bloom is instructed that the proper way to wish someone good luck on Broadway is to say "Break a leg." Moments later, the show's star is seen to break his leg—preventing him from performing—and in a later scene he breaks his other leg. The number also appears in the 2005 film version of the musical.


title: Noh

text: Noh is often based on tales from traditional literature with a supernatural being transformed into human form as a hero narrating a story. Noh integrates masks, costumes and various props in a dance-based performance, requiring highly trained actors and musicians. Emotions are primarily conveyed by stylized conventional gestures while the iconic masks represent the roles such as ghosts, women, deities, and demons. Written in late middle Japanese, the text "vividly describes the ordinary people of the twelfth to sixteenth centuries". Having a strong emphasis on tradition rather than innovation, Noh is extremely codified and regulated by the "iemoto" system.


title: Noh

text: The kanji for means "skill", "craft", or "talent", particularly in the field of performing arts in this context. The word Noh may be used alone or with "gaku" (; entertainment, music) to form the word "nōgaku". Noh is a classical tradition that is highly valued by many today. When used alone, Noh refers to the historical genre of theatre that originated from "sarugaku" in the mid 14th century and continues to be performed today.


title: Noh

text: One of the oldest forerunners of Noh and "kyōgen" is "", which was introduced to Japan from China in the 8th century. At the time, the term "sangaku" referred to various types of performance featuring acrobats, song and dance as well as comic sketches. Its subsequent adaptation to Japanese society led to its assimilation of other traditional art forms." Various performing art elements in "sangaku" as well as elements of "dengaku" (rural celebrations performed in connection with rice planting), "sarugaku" (popular entertainment including acrobatics, juggling, and pantomime), "shirabyōshi "(traditional dances performed by female dancers in the Imperial Court in the 12th century), "gagaku" (music and dance performed in the Imperial Court beginning in the 7th century), and "kagura" (ancient "Shinto" dances in folk tales) evolved into Noh and "kyōgen".


title: Noh

text: Studies on the genealogy of the Noh actors in 14th century indicate they were members of families specializing in the performing arts. According to legend, the Konparu School, which is considered to be the oldest tradition of Noh, was founded by Hata no Kawakatsu in the 6th century. However, the founder of the Konparu school, which is widely accepted among historians, was Bishaō Gon no Kami (Komparu Gonnokami) during Nanboku-chō period in the 14th century. According to the genealogical chart of the Konparu school, Bishaō Gon no Kami is a descendant after 53 generations of Hata no Kawakatsu. The Konparu school was descended from the "sarugaku" troupe which had played active roles in Kasuga-taisha and Kofuku-ji in Yamato Province.


title: Noh

text: Another theory, by Shinhachirō Matsumoto, suggests Noh originated from outcastes struggling to claim higher social status by catering to those in power, namely the new ruling "samurai" class of the time. The transfer of the shogunate from Kamakura to Kyoto at the beginning of Muromachi period marked the increasing power of the samurai class and strengthened the relationship between the shogunate and the court. As Noh became the "shōgun"s favorite art form, Noh was able to become a courtly art form through this newly formed relationship. In 14th century, with strong support and patronage from "shōgun" Ashikaga Yoshimitsu, Zeami was able to establish Noh as the most prominent theatre art form of the time.


title: Noh

text: In the 14th century, during the Muromachi period (1336 to 1573), Kan'ami Kiyotsugu and his son Zeami Motokiyo reinterpreted various traditional performing arts and completed Noh in a significantly different form from the traditional one, essentially bringing Noh to the present form. Kan'ami was a renowned actor with great versatility playing roles from graceful women and 12-year-old boys to strong men. When Kan'ami first presented his work to the 17-year-old Ashikaga Yoshimitsu, Zeami was a child actor in his play, around age 12. Yoshimitsu fell in love with Zeami and his position of favor at court caused Noh to be performed frequently for Yoshimitsu thereafter.


title: Noh

text: Konparu Zenchiku, who was the great-grandson of Bishaō Gon no Kami, the founder of the Konparu school, and the husband of Zeami's daughter, incorporated elements of waka (poetry) into Zeami's Noh and further developed it.


title: Noh

text: By this period, among the five major schools of Noh, four were established: the Kanze school, established by Kan'ami and Zeami; the Hōshō school established by Kan'ami's eldest brother; the Konparu school; and the Kongō school. All of these schools were descendants of the "sarugaku" troupe from Yamato Province. The Ashikaga Shogunate supported only the Kanze school among the four schools.


title: Noh

text: During the Edo period, Noh continued to be an aristocratic art form supported by the "shōgun", the feudal lords ("daimyōs"), as well as wealthy and sophisticated commoners. While "kabuki" and "joruri" popular to the middle class focused on new and experimental entertainment, Noh strived to preserve its established high standards and historic authenticity and remained mostly unchanged throughout the era. To capture the essence of performances given by great masters, every detail in movements and positions was reproduced by others, generally resulting in an increasingly slow, ceremonial tempo over time.


title: Noh

text: In this era, the Tokugawa shogunate appointed Kanze school as the head of the four schools. Kita Shichidayū (Shichidayū Chōnō), a Noh actor of the Konparu school who served Tokugawa Hidetada, founded the Kita school, which was the last established of the five major schools.


title: Noh

text: The fall of the Tokugawa shogunate in 1868 and the formation of a new, modernized government resulted in the end of financial support by the state, and the entire field of Noh experienced major financial crisis. Shortly after the Meiji Restoration both the number of Noh performers and Noh stages greatly diminished. The support from the imperial government was eventually regained partly due to Noh's appeal to foreign diplomats. The companies that remained active throughout the Meiji era also significantly broadened Noh's reach by catering to the general public, performing at theatres in major cities such as Tokyo and Osaka.


title: Noh

text: In 1957 the Japanese Government designated "nōgaku" as an Important Intangible Cultural Property, which affords a degree of legal protection to the tradition as well as its most accomplished practitioners. The National Noh Theatre founded by the government in 1983 stages regular performances and organizes courses to train actors in the leading roles of "nōgaku". Noh was inscribed in 2008 on the Representative List of the Intangible Cultural Heritage of Humanity by UNESCO as Nōgaku theatre.


title: Noh

text: Although the terms "nōgaku" and Noh are sometimes used interchangeably, the Japanese government's definition of ""nōgaku"" theatre encompasses both Noh plays and "kyōgen" plays. "Kyōgen" is performed in between Noh plays in the same space. Compared to Noh, ""kyōgen" relies less on the use of masks and is derived from the humorous plays of the "sangaku", as reflected in its comic dialogue."


title: Noh

text: During the Edo period, the guild system gradually tightened, which largely excluded women from Noh, except for some women (such as courtesans) performing songs in marginal situations. Later, in the Meiji era, Noh performers taught wealthy people and nobles, and this led to more opportunities for female performers because women insisted on female teachers. In the early 1900s, after women were allowed to join Tokyo Music School, the rules forbidding women from joining various schools and associations in Noh were relaxed. In 1948, the first women joined the Nohgaku Performers' Association. In 2004, the first women joined the Association for Japanese Noh Plays. In 2007, the National Noh Theatre began to annually present regular programs by female performers. In 2009, there were about 1200 male and 200 female professional Noh performers.


title: Noh

text: The concept of "jo-ha-kyū" dictates virtually every element of Noh including compiling of a program of plays, structuring of each play, songs and dances within plays, and the basic rhythms within each Noh performance. "Jo" means beginning, "ha" means breaking, and "kyū" means rapid or urgent. The term originated in "gagaku", ancient courtly music, to indicate gradually increasing tempo and was adopted in various Japanese traditions including Noh, tea ceremony, poetry, and flower arrangement.


title: Noh

text: "Jo-ha-kyū" is incorporated in the traditional five-play program of Noh. The first play is "jo", the second, third, and fourth plays are "ha", and the fifth play is "kyū". In fact, the five categories discussed below were created so that the program would represent "jo-ha-kyū" when one play from each category is selected and performed in order. Each play can be broken into three parts, the introduction, the development, and the conclusion. A play starts out in a slow tempo at "jo", gets slightly faster at "ha", then culminates in "kyū".


title: Noh

text: Zeami isolated nine levels or types of Noh acting from lower degrees which put emphasis on movement and violence to higher degrees which represent the opening of a flower and spiritual prowess.


title: Noh

text: In 2012, there are five extant schools of Noh acting called Kanze (観世), Hōshō (宝生), Komparu (金春), Kongō (金剛), and Kita (喜多) schools that train "shite" actors. Each school has its own "iemoto" family that carries the name of the school and is considered the most important. The "iemoto" holds the power to create new plays or modify lyrics and performance modes. "Waki" actors are trained in the schools Takayasu (高安), Fukuou (福王), and Hōshō (宝生). There are two schools that train "kyōgen", Ōkura (大蔵) and Izumi (和泉). Eleven schools train instrumentalists, each school specializing in one to three instruments.


title: Noh

text: The Nohgaku Performers' Association ("Nōgaku Kyōkai"), to which all professionals are registered, strictly protects the traditions passed down from their ancestors (see "iemoto"). However, several secret documents of the Kanze school written by Zeami, as well as materials by Konparu Zenchiku, have been diffused throughout the community of scholars of Japanese theatre.


title: Noh

text: A typical Noh play always involves the chorus, the orchestra, and at least one "shite" and one "waki" actor.


title: Noh

text: Noh performance combines a variety of elements into a stylistic whole, with each particular element the product of generations of refinement according to the central Buddhist, Shinto, and minimalist aspects of Noh's aesthetic principles.


title: Noh

text: Noh masks (能面 "nō-men" or 面 "omote") are carved from blocks of Japanese cypress (檜 ""hinoki""), and painted with natural pigments on a neutral base of glue and crunched seashell. There are approximately 450 different masks mostly based on sixty types, all of which have distinctive names. Some masks are representative and frequently used in many different plays, while some are very specific and may only be used in one or two plays. Noh masks signify the characters' gender, age, and social ranking, and by wearing masks the actors may portray youngsters, old men, female, or nonhuman (divine, demonic, or animal) characters. Only the "shite", the main actor, wears a mask in most plays, even though the "tsure" may also wear a mask in some plays to represent female characters.


title: Noh

text: Even though the mask covers an actor's facial expressions, the use of the mask in Noh is not an abandonment of facial expressions altogether. Rather, its intent is to stylize and codify the facial expressions through the use of the mask and to stimulate the imagination of the audience. By using masks, actors are able to convey emotions in a more controlled manner through movements and body language. Some masks utilize lighting effect to convey different emotions through slight tilting of the head. Facing slightly upward, or "brightening" the mask, will let the mask to capture more light, revealing more features that appear laughing or smiling. Facing downward, or "clouding" it, will cause the mask to appear sad or mad.


title: Noh

text: Noh masks are treasured by Noh families and institution, and the powerful Noh schools hold the oldest and most valuable Noh masks in their private collections, rarely seen by the public. The most ancient mask is supposedly kept as a hidden treasure by the oldest school, the Konparu. According to the current head of the Konparu school, the mask was carved by the legendary regent Prince Shōtoku (572–622) over a thousand years ago. While the historical accuracy of the legend of Prince Shōtoku's mask may be contested, the legend itself is ancient as it is first recorded in Zeami's "Style and the Flower" written in the 14th century. Some of the masks of the Konparu school belong to the Tokyo National Museum, and are exhibited there frequently.


title: Noh

text: The traditional Noh stage ("butai") has complete openness that provides a shared experience between the performers and the audience throughout the performance. Without any proscenium or curtains to obstruct the view, the audience sees each actor even during the moments before they enter (and after they exit) the central "stage" ("honbutai", "main stage"). The theatre itself is considered symbolic and treated with reverence both by the performers and the audience.


title: Noh

text: One of the most recognizable characteristic of Noh stage is its independent roof that hangs over the stage even in indoor theatres. Supported by four columns, the roof symbolizes the sanctity of the stage, with its architectural design derived from the worship pavilion ("haiden") or sacred dance pavilion ("kagura-den") of Shinto shrines. The roof also unifies the theatre space and defines the stage as an architectural entity.


title: Noh

text: The pillars supporting the roof are named "shitebashira" (principal character's pillar), "metsukebashira" (gazing pillar), "wakibashira" (secondary character's pillar), and "fuebashira" (flute pillar), clockwise from upstage right respectively. Each pillar is associated with the performers and their actions.


title: Noh

text: The stage is made entirely of unfinished "hinoki", Japanese cypress, with almost no decorative elements. The poet and novelist Tōson Shimazaki writes that "on the stage of the Noh theatre there are no sets that change with each piece. Neither is there a curtain. There is only a simple panel ("kagami-ita") with a painting of a green pine tree. This creates the impression that anything that could provide any shading has been banished. To break such monotony and make something happen is no easy thing."


title: Noh

text: Another unique feature of the stage is the "hashigakari", a narrow bridge at upstage right used by actors to enter the stage. "Hashigakari" means "suspension bridge", signifying something aerial that connects two separate worlds on a same level. The bridge symbolizes the mythic nature of Noh plays in which otherworldly ghosts and spirits frequently appear. In contrast, "hanamichi" in Kabuki theatres is literally a path ("michi") that connects two spaces in a single world, thus has a completely different significance.


title: Noh

text: Noh actors wear silk costumes called "shozoku" (robes) along with wigs, hats, and props such as the fan. With striking colors, elaborate texture, and intricate weave and embroidery, Noh robes are truly works of art in their own right. Costumes for the "shite" in particular are extravagant, shimmering silk brocades, but are progressively less sumptuous for the "tsure," the "wakizure," and the "aikyōgen".


title: Noh

text: For centuries, in accordance with the vision of Zeami, Noh costumes emulated the clothing that the characters would genuinely wear, such as the formal robes for a courtier and the street clothing for a peasant or commoner. But in the late sixteenth century, the costumes became stylized with certain symbolic and stylistic conventions. During the Edo (Tokugawa) period, the elaborate robes given to actors by noblemen and "samurai" in the Muromachi period were developed as costumes.


title: Noh

text: The musicians and chorus typically wear formal "montsuki" "kimono" (black and adorned with five family crests) accompanied by either "hakama" (a skirt-like garment) or "kami-shimo", a combination of "hakama" and a waist-coat with exaggerated shoulders. Finally, the stage attendants are garbed in virtually unadorned black garments, much in the same way as stagehands in contemporary Western theatre.


title: Noh

text: The use of props in Noh is minimalistic and stylized. The most commonly used prop in Noh is the fan, as it is carried by all performers regardless of role. Chorus singers and musicians may carry their fan in hand when entering the stage, or carry it tucked into the "obi "(the sash). The fan is usually placed at the performer's side when he or she takes position, and is often not taken up again until leaving the stage. During dance sequences, the fan is typically used to represent any and all hand-held props, such as a sword, wine jug, flute, or writing brush. The fan may represent various objects over the course of a single play.


title: Noh

text: When hand props other than fans are used, they are usually introduced or retrieved by "kuroko" who fulfill a similar role to stage crew in contemporary theatre. Like their Western counterparts, stage attendants for Noh traditionally dress in black, but unlike in Western theatre they may appear on stage during a scene, or may remain on stage during an entire performance, in both cases in plain view of the audience. The all-black costume of "kuroko" implies they are not part of the action on stage and are effectively invisible.


title: Noh

text: Set pieces in Noh such as the boats, wells, altars, and bells, are typically carried onto the stage before the beginning of the act in which they are needed. These props normally are only outlines to suggest actual objects, although the great bell, a perennial exception to most Noh rules for props, is designed to conceal the actor and to allow a costume change during the "kyōgen" interlude.


title: Noh

text: Noh theatre is accompanied by a chorus and a "hayashi" ensemble ("Noh-bayashi" 能囃子). Noh is a chanted drama, and a few commentators have dubbed it "Japanese opera". However, the singing in Noh involves a limited tonal range, with lengthy, repetitive passages in a narrow dynamic range. Texts are poetic, relying heavily on the Japanese seven-five rhythm common to nearly all forms of Japanese poetry, with an economy of expression, and an abundance of allusion. The singing parts of Noh are called ""Utai"" and the speaking parts ""Kataru"". The music has many blank spaces ("ma") in between the actual sounds, and these negative blank spaces are in fact considered the heart of the music. In addition to "utai", Noh "hayashi" ensemble consists of four musicians, also known as the "hayashi-kata", including three drummers, which play the "shime-daiko", "ōtsuzumi" (hip drum), and "kotsuzumi" (shoulder drum) respectively, and a "nohkan" flutist.


title: Noh

text: The chant is not always performed "in character"; that is, sometimes the actor will speak lines or describe events from the perspective of another character or even a disinterested narrator. Far from breaking the rhythm of the performance, this is actually in keeping with the otherworldly feel of many Noh plays, especially in those characterized as "mugen".


title: Noh

text: Of the roughly 2000 plays created for Noh that are known today, about 240 make up the current repertoire performed by the five existing Noh schools. The current repertoire is heavily influenced by the taste of aristocratic class in Tokugawa period and does not necessarily reflect popularity among the commoners. There are several ways to classify Noh plays.


title: Noh

text: While "Genzai" Noh utilizes internal and external conflicts to drive storylines and bring out emotions, "Mugen" Noh focuses on utilizing flashbacks of the past and the deceased to invoke emotions.


title: Noh

text: All Noh plays are divided by their themes into the following five categories. This classification is considered the most practical, and is still used in formal programming choices today. Traditionally, a formal 5-play program is composed of a selection from each of the groups.


title: Noh

text: In addition to the above five, "Okina" (翁) (or "Kamiuta") is frequently performed at the very beginning of the program, especially at New Year, holidays, and other special occasions. Combining dance with Shinto ritual, it is considered the oldest type of Noh play.


title: Noh

text: Zeami and Zenchiku describe a number of distinct qualities that are thought to be essential to the proper understanding of Noh as an art form.


title: Noh

text: Noh is still regularly performed today in public theatres as well as private theatres mostly located in major cities. There are more than 70 Noh theatres throughout Japan, presenting both professional and amateur productions.


title: Noh

text: Public theatres include National Noh Theatre (Tokyo), Nagoya Noh Theater, and Osaka Noh Theater. Each Noh school has its own permanent theatre, such as Kanze Noh Theater (Tokyo), Hosho Noh Theater (Tokyo), Kongo Noh Theater (Kyoto), and Nara Komparu Noh Theater (Nara). Additionally, there are various prefectural and municipal theatres located throughout Japan that present touring professional companies and local amateur companies. In some regions, unique regional Noh such as Ogisai Kurokawa Noh have developed to form schools independent from five traditional schools.


title: Noh

text: Audience etiquette is generally similar to formal western theatre—the audience quietly watches. Surtitles are not used, but some audience members follow along in the libretto. Because there are no curtains on the stage, the performance begins with the actors entering the stage and ends with their leaving the stage. The house lights are usually kept on during the performances, creating an intimate feel that provides a shared experience between the performers and the audience.


title: Noh

text: At the end of the play, the actors file out slowly (most important first, with gaps between actors), and while they are on the bridge ("hashigakari"), the audience claps restrainedly. Between actors, clapping ceases, then begins again as the next actor leaves. Unlike in western theatre, there is no bowing, nor do the actors return to the stage after having left. A play may end with the "shite" character leaving the stage as part of the story (as in "Kokaji," for instance)—rather than ending with all characters on stage—in which case one claps as the character exits.


title: Noh

text: During the interval, tea, coffee, and "wagashi" (Japanese sweets) may be served in the lobby. In the Edo period, when Noh was a day-long affair, more substantial "makunouchi' bentō" (幕の内弁当, "between-acts lunchbox") were served. On special occasions, when the performance is over, お神酒 ("o-miki," ceremonial "sake") may be served in the lobby on the way out, as it happens in Shinto rituals.


title: Noh

text: The audience is seated in front of the stage, to the left side of the stage, and in the corner front-left of stage; these are in order of decreasing desirability. While the "metsuke-bashira" pillar obstructs the view of the stage, the actors are primarily at the corners, not the center, and thus the two aisles are located where the views of the two main actors would be obscured, ensuring a generally clear view regardless of seating.


title: Dysfunctional family

text: A dysfunctional family is a family in which conflict, misbehavior, and often child neglect or abuse and sometimes even all of the above on the part of individual parents occur continuously and regularly, leading other members to accommodate such actions. Children sometimes grow up in such families with the understanding that such a situation is normal. Dysfunctional families are primarily a result of two adults, one typically overtly abusive and the other codependent, and may also be affected by substance abuse or other forms of addiction, or sometimes by an untreated mental illness. Parents having grown up in a dysfunctional family may over-correct or emulate their own parents. In some cases, the dominant parent will abuse or neglect their children and the other parent will not object, misleading a child to assume blame.


title: Dysfunctional family

text: A common misperception of dysfunctional families is the mistaken belief that the parents are on the verge of separation and divorce. While this is true in a few cases, often the marital satisfaction is very strong as the parents' faults actually complement each other. In short, they have nowhere else to go. However, this does not necessarily mean the family's situation is stable. Any major stressor, such as relocation, unemployment/underemployment, physical or mental illness, natural disaster, etc., can cause existing difficulties affecting the children to become much worse.


title: Dysfunctional family

text: Dysfunctional families pervade all strata of society regardless of social, financial or intellectual status. Nevertheless, until recent decades, professionals (therapists, social workers, teachers, counselors, clergy, etc.) did not take the concept of a dysfunctional family seriously, especially not with reference to the middle and upper classes. Any intervention would have been seen as violating the sanctity of marriage and increasing the probability of divorce, which was socially unacceptable at the time. Historically, society expected the children of dysfunctional families to obey their parents (ultimately the father), and to cope with the situation alone.


title: Dysfunctional family

text: Dysfunctional family members have common features and behavior patterns as a result of their experiences within the family structure. This tends to reinforce the dysfunctional behavior, either through enabling or perpetuation. The family unit can be affected by a variety of factors.


title: Dysfunctional family

text: Though not universal among dysfunctional families, and by no means exclusive to them, the following features are typical of dysfunctional families:


title: Dysfunctional family

text: There are certain times where families can become dysfunctional due to specific situational examples. Some of these include difficulty integrating into a new culture, strain in the relationship between nuclear and extended family members, children in a rebellion phase, and ideological differences in belief systems.


title: Dysfunctional family

text: The program "Adult Children of Alcoholics" includes something labeled as a "Laundry List". The Laundry List is core literature of the program Adult Children of Alcoholics. This list has 14 different statements that relate to being an adult child of a parent with an alcohol addiction. These statements provide commentary on how children have been affected by the trauma of having alcoholic parents. Some highlights of the statements include, "confusing love and pity", "having low self-esteem", and having a "loss of identity". The Laundry list is a helpful tool in group therapy in order to show families that they are not alone in their struggles.


title: Dysfunctional family

text: One common dysfunctional parental behavior is a parent's manipulation of a child in order to achieve some outcome adverse to the other parent's rights or interests. Examples include verbal manipulation such as spreading gossip about the other parent, communicating with the parent through the child (and in the process exposing the child to the risks of the other parent's displeasure with that communication) rather than doing so directly, trying to obtain information through the child (spying), or causing the child to dislike the other parent, with insufficient or no concern for the damaging effects of the parent's behavior on the child. While many instances of such manipulation occur in shared custody situations that have resulted from separation or divorce, it can also take place in intact families, where it is known as triangulation.


title: Dysfunctional family

text: Coalitions are subsystems within families with more rigid boundaries and are thought to be a sign of family dysfunction.


title: Dysfunctional family

text: Unlike divorce, and to a lesser extent, separation, there is often no record of an "intact" family being dysfunctional. As a result, friends, relatives, and teachers of such children may be completely unaware of the situation. In addition, a child may be unfairly blamed for the family's dysfunction, and placed under even greater stress than those whose parents separate.


title: Dysfunctional family

text: Children growing up in a dysfunctional family have been known to adopt or be assigned one or more of the following six basic roles:


title: Dysfunctional family

text: Although there are many negative outcomes that came come from growing up in a dysfunctional household, the brain can be able to produce positive ones as well. As discussed in the article, "Adult Children of Dysfunctional Families", resilience is something that can come out of these obstacles in children's lives and make for a brighter future. Resilience is defined as something positive that is able to be brought forth from negative experiences in childhood. (Resilience in Adult Children of Alcoholics: A Nonpathological Approach to Social Work Practice). This refers to the ability for children who go through many hardships with their parents growing up to be able to take those hardships and learn from them in order to develop better coping strategies and find meaning in their futures. For example, when children find themselves in a dysfunctional family life, they may take the route of either isolating themselves, or reaching out for help. When children reach out for help, they can develop resiliency over time by fostering positive relationships with guidance counselors, or other trusted adults that will continue to stay strong after they become adults themselves.


title: Dysfunctional family

text: Resilience is also something that can be strengthened through community settings and positive interactions with others. A dysfunctional family can create a large amount of trauma for children that they may carry into their adult lives. Although different families may create different types of trauma for children, the way that trauma is processed is very similar. When children are able to bond and help each other through the process of dealing with trauma, they can find comfort, which in turn promotes resiliency. What trauma tends to do is make people feel like there is something wrong with them, and they should keep themselves away from the rest of society. This is why recognizing that one is not alone in their struggles is an extremely powerful thing.


title: Dysfunctional family

text: The organization Adult Children of Alcoholics and Dysfunctional Families (ACA) serves as an extremely useful tool in providing support for people who come from a dysfunctional childhood where their caretakers suffered with alcoholism. What the ACA does that is hold a twelve step program that is designed to create emotional healing in adult children. By doing this, the program hopes to see the adult children equally as worthy as help and support as the people in their families who faced the alcoholism themselves. There are multiple kinds of meetings that the organization holds in order to bring resources to all different groups (women, men, LGBTQ+, teens, young adults). These meeting settings also have different formats, so that people can be met where they are in their individual healing journey. For example, one could view a guest speaker's presentation before they go into any formal counseling. This is an significant aspect to the resource of meeting's, because some people feel too overwhelmed by certain settings to even begin the process. It is better for a person to join the organization at all, than to be too nervous to go to a full-blown meeting and be turned away forever.


title: Dysfunctional family

text: 23. Palmer, Nancie. (August 1997). "Resilience in Adult Children of Alcoholics:A Nonpathological Approach to Social Work Practice, Health & Social Wor"k, 22 (3) pp. 201–209, <nowiki>https://doi.org/10.1093/hsw/22.3.201</nowiki>


title: Dysfunctional family

text: 24. ACA Worldwide. (2022, April 14). "Adult Children of Alcoholics & Dysfunctional Families World Service Organization". Adult Children of Alcoholics & Dysfunctional Families. Retrieved April 19, 2022, from <nowiki>https://adultchildren.org/</nowiki>


title: Amit Trivedi

text: Amit Trivedi (born 8 April 1979) is an Indian music director, singer and a lyricist who works primarily in Hindi films. After working as a theatre and jingle composer and composing for non-film albums, he debuted as a film composer in the 2008 Hindi film "Aamir", he gained prominence for his work in the Hindi film "Dev.D" (2009).


title: Amit Trivedi

text: Trivedi was born in Bandra, Mumbai, India to a traditional Gujarati family. Growing up, his only connect with music was devotional songs and Gujarati folk. His native city is Ahmedabad, Gujarat.


title: Amit Trivedi

text: In his younger days, an electronic musical instrument fascinated Trivedi and he was slowly drawn towards music, mainly influenced by classical music. At 19–20, he began composing music. In college days, he joined the band Om, who performed at local gigs, small shows and live performances. They struck gold when Times Music took notice at one of their shows, and offered to launch their album. The album however did not fare well, due to lack of promotion. Eventually Trivedi went on to compose for theatre (Hindi, English and Gujarati plays), background music for television shows, programming for some Marathi films, live performances, dandiya shows, orchestras etc. He also had a brief stint composing advertisement jingles, for brands such as McDonald's and Airtel. After sound engineer and Audio Garage Recording Studio owner Arvind Vishwakarma introduced Trivedi to Sony BMG, he began composing music for non-film albums. As a part of his two-year contract, Trivedi composed some tracks for Abhijeet Sawant's "Junoon" and one song in Prashant Tamang's debut album. He arranged for many musicians including Amartya Rahut for a Marathi film Uttarayan in 2004.


title: Amit Trivedi

text: Film music eventually came his way, when friend and playback singer Shilpa Rao suggested his name to film director Anurag Kashyap. The latter was in search of a new composer with a distinct vision for his next film. After meeting Trivedi, Kashyap offered him the chance to compose the soundtrack to "Dev.D". Although it was scheduled to be his debut, "Dev.D" ran into production delays and was shelved for some time.


title: Amit Trivedi

text: Upon Kashyap's recommendation, Trivedi was roped in to score Raj Kumar Gupta's directorial venture "Aamir". Trivedi and Gupta worked on making the soundtrack fuse with the film narrative, resulting in an effort that garnered critical recognition.


title: Amit Trivedi

text: By the end of 2008, "Dev.D" was finally released. The soundtrack, released in December, consisted of 18 tracks of different genres. Trivedi dubbed the soundtrack the "baap (father) of different genres". He sang five songs on the soundtrack, and wrote the lyrics for one ("Aankh Micholi"). He shot to fame with the unusual music of "Dev.D", giving many chartbusters like "Emosanal Attyachar", "Saali Khushi", "O Pardesi" and many more. He was conferred with both the R. D. Burman Award and the Best Background Score at the Filmfare Awards 2010, before receiving the National Film Award for Best Music Direction, the highest recognition for Indian composers. Trivedi wrote the score for "Wake Up Sid" (2009) and one of his compositions "Iktara" was also included in the soundtrack. In 2009 itself, Trivedi was roped in by Anshu Sharma to compose the team anthem "Game for More" for Royal Challengers Bangalore, a team owned by liquor baron Vijay Mallya. Between scoring for films, Trivedi also wrote the title track for the reality show "Big Switch" aired on UTV Bindaas. He also provided the music and background score for the ensemble romantic comedy-drama "Aisha" (2010), which also had him providing vocals for two songs, "Suno Aisha" and "Sham". Recently, he won Best Song for "Naina Da Kya Kasoor" at the News18 Reel Movie Awards from "Andhadhun" (2018). Apart from "Naina Da Kya Kasoor", he also sang "Laila Laila" for the film. In 2019, Power Brands honored him with the Best Music Director of the Year award for "Andhadhun" at the Bollywood Film Journalists Awards (BFJA).


title: Amit Trivedi

text: Trivedi was the composer of the official anthem for the 2021 ICC Men's T20 World Cup, which was backed by lyricist Kausar Munir and sung by Sharvi Yadav and Anand Bhaskar. An Indipop song, he also makes the use of vocal orchestra therein.


title: Amit Trivedi

text: He has made TV appearances for various shows aired on MTV. Also, he composed title track for the television show "Aaj Ki Raat Hai Zindagi", hosted by Amitabh Bachchan. He also composed music for the 2018 film Kedarnath produced by RSVP Movies and Guy in The Sky Pictures.


title: Amit Trivedi

text: Amit Trivedi shared stage along with the likes of Katy Perry, Dua Lipa, Ritviz and The Local Train at OnePlus Music Festival. There was a Coke Studio concert at IIM Bangalore on 22 November 2013, featuring Amit Trivedi along with Tochi Raina, Shriram Iyer, Tanvi Shah, Mili Nair and Jaggi. He also performed for the Bacardi NH7 Weekender (music festival) which happened in Pune, Delhi, and Hyderabad. In January 2016, he performed at Quo Vadis, the annual fest of Indian Institute of Foreign Trade, Delhi. On 1 February 2016, he performed at Spring Fest, the annual festival of IIT Kharagpur along with the likes of Neeti Mohan, Yashita Sharma and Divya Kumar. He performed at Chembur Gymkhana on 4 March 2017. He performed on 19 March 2017 at Gujarat National Law University, Gandhinagar. On 26 March 2017, he performed along with Jonita Gandhi and Divya Kumar at Aura, the annual festival of Gogte Institute of Technology. He also composed a nation song incorporating all his popular genres and celebrating unity through an amalgamation of folk music from different states of the nation at the Mirchi Music Awards held in 2017. On 20 January 2018; he performed for the first time in Navi Mumbai at SIESONS, SIES College (Nerul) with Jonita Gandhi, Shashwat Singh, Arun Kumar and Yashita Sharma. He has also performed in "Kashiyatra" IIT BHU Annual Fest on 21 January 2018; the very next day. He performed at K. J. Somaiya College of Engineering for their annual cultural festival Symphony on 7 February 2018, and his performance also included the launch and first-ever live performance of Padman's title track 'Aaj Se Teri'. He also performed in "Engifest", the Delhi Technological University Annual Fest on 16 February 2018. He also performed in "Riviera" in VIT University on 17 February 2018. He performed in Synapse (Gujarat's largest cultural fest) at DA-IICT, Gandhinagar on 24 February. He performed at the Hindu College for their fest "Mecca" on 16 March. In October 2018 he also performed at the annual cultural fest of IIT Roorkee,"Thomso". His performance at IIT Indore during Fluxus - Annual Techno-Cultural fest of IIT Indore on 17 February 2019 was highly appreciated by the crowd and considered one of his best live performances. He performed at the Vibrance 2019 (VIT Chennai's annual cultural fest) on 21 February. He also performed recently at BITS Pilani for their cultural fest "Oasis" on 22 November 2022. He is currently managed by Tarsame Mittal Talent Management for his live shows.


title: Vancouver Whitecaps FC

text: Vancouver Whitecaps Football Club is a Canadian professional soccer team based in Vancouver. They compete in Major League Soccer (MLS) as a member club of the league's Western Conference. The MLS iteration of the club was established on March 18, 2009, and began play in 2011 as the 17th team to enter Major League Soccer while replacing the USSF Division 2 team of the same name in the city, making them a phoenix club and the third to carry the Whitecaps name. The club has been owned and managed by the same group since their USSF days.


title: Vancouver Whitecaps FC

text: In the 2012 season, the team became the first Canadian team to qualify for the MLS Cup Playoffs. The Whitecaps have won two Canadian Championships, in 2015 and 2022. Vancouver also competes against longtime Pacific Northwest rivals Seattle and Portland in the Cascadia Cup, a fan-created trophy awarded based on MLS regular season results. Notable former Whitecaps players include former American international Jay DeMerit, the club's first player and captain; Camilo Sanvezzo, the 2013 MLS Golden Boot winner; and current Canadian international Alphonso Davies, a homegrown player.


title: Vancouver Whitecaps FC

text: An ownership group in Vancouver were granted the seventeenth Major League Soccer franchise on March 18, 2009, by MLS Commissioner Don Garber.


title: Vancouver Whitecaps FC

text: While no name was provided at the Vancouver announcement, over a year later the club confirmed it would keep the Whitecaps name. The team sold the first 5,000 season ticket deposits 48 hours after they became available to the public. Remaining season tickets were made available to season ticket holders for the USSF 2 Whitecaps before becoming available to non-season ticket holders.


title: Vancouver Whitecaps FC

text: In preparation for its first MLS season, the Whitecaps brought in executive talent from around the world. On November 24, 2009, Paul Barber, former Tottenham Hotspur F.C. executive, was announced to join the club as CEO. Others joining him included former D.C. United head coach Tom Soehn as Director of Operations and Dutch national Richard Grootscholten as the Technical Director and head coach of the residency program.


title: Vancouver Whitecaps FC

text: As the head coach of the USL and later USSF Division 2 Vancouver Whitecaps, former Iceland international Teitur Thordarson was confirmed as head coach on September 2, 2010, for the inaugural MLS season. He was subsequently relieved of his duties on May 30, 2011, after the Whitecaps won just one of their first twelve matches. Tom Soehn, the Whitecaps director of soccer operations, replaced Thordarson on an interim basis.


title: Vancouver Whitecaps FC

text: The Whitecaps began play in the 2011 MLS season with their first match on March 19, 2011, against rival Canadians Toronto FC, which they won 4–2. The first goal in the Whitecaps' MLS era was scored by Eric Hassli. After their winning start the Whitecaps struggled, and failed to secure another victory in their next 11 MLS games, drawing six and losing five. In the aftermath of their 1–1 draw with the New York Red Bulls on May 30 head coach Teitur Thordarson was fired. Tom Soehn took over coaching duties for the remainder of the 2011 season, while Martin Rennie was announced as the new permanent head coach on August 9, taking over officially on November 2. The team managed to attract 15,500 season ticket holders in its first MLS season and 13,000 for the second.


title: Vancouver Whitecaps FC

text: On March 3, 2012, the Whitecaps won their first minor, pre-season cup at the 2012 Walt Disney World Pro Soccer Classic defeating Toronto FC 1–0 thanks to a goal by Camilo Sanvezzo. The Whitecaps finished the regular season with 11 wins, 3 losses, and 10 ties positioning the club, fifth in the Western Conference and 11th on the league overall table. On October 21, 2012, the Whitecaps became the first Canadian team to earn a spot in the MLS playoffs. Vancouver were eliminated in the knockout round.


title: Vancouver Whitecaps FC

text: In the 2013 season, Vancouver finished in seventh in the Western Conference, 13th in the league table with 13 wins, 12 losses, and 9 ties in the regular season. They were not able to qualify for the post season, in the playoffs as they had accomplished in the season prior. Two days after the end of the 2013 MLS regular season, Rennie's contract was not renewed sparking a search for the next head coach. In their off-season, the Whitecaps were in the midst of controversy with one of their then players, Camilo, who had played for the team since their inaugural campaign, after the Brazilian went on to join Liga MX club Querétaro. The Mexican club believed that he was no longer under contract, while the Whitecaps reported that he was still on a contract with Vancouver. The scandal was resolved with the Liga MX club paying a transfer fee from Vancouver to acquire the Brazilian forward.


title: Vancouver Whitecaps FC

text: In October 2014, the Whitecaps qualified for the 2015–16 CONCACAF Champions League for the very first time as a result of becoming the highest ranked Canadian team in the 2014 MLS season and due to a reformatting of the Canadian Championship in the following season. A week later they qualified for the MLS playoffs for the second time, an achievement unmatched by any Canadian team.


title: Vancouver Whitecaps FC

text: On June 8, 2010, it was officially announced the club would continue using the "Whitecaps" name, but with a redesigned logo. The name alludes to the geographic features surrounding the city: snow-capped mountains to the north and the Pacific Ocean's white-capped waves to the west.


title: Vancouver Whitecaps FC

text: The official club colours include navy blue ("deep sea"), white, and light blue ("Whitecaps blue"). The "deep sea" blue represents the maritime landscape of the Vancouver area and the "Whitecaps blue" indicates the reflection of the North Shore Mountains in the Pacific Ocean. The lighter shade of blue also alludes to the primary colour of the original Whitecaps, winners of Soccer Bowl 1979. The silver outline pays homage to the team's championship victories since 1974.


title: Vancouver Whitecaps FC

text: On June 10, 2010, the Whitecaps strip package was unveiled with Bell Canada serving as the inaugural jersey sponsor. The home shirt is white with horizontal, navy blue pinstripes; the stripes broaden slightly from bottom to top. The secondary shirt is deep blue with an embossed, interlocking diamond pattern which is also deep blue and is reflective in the light.


title: Vancouver Whitecaps FC

text: On June 14, 2012, the Whitecaps unveiled a third kit. The third kit is predominantly "arbutus brown", with sky blue accents, which reflects the unique land full of deep roots and the high-reaching arms of the temperate rainforests of British Columbia.


title: Vancouver Whitecaps FC

text: In 2019 they used a redesigned version of their 1979 kit as a 40th anniversary tribute to the team winning the 1979 NASL Soccer Bowl.


title: Vancouver Whitecaps FC

text: The Whitecaps plays its home matches at BC Place in Vancouver, which it shares with the BC Lions of the Canadian Football League. Vancouver has played at BC Place since the final month of the 2011 MLS season, having spent the majority of that year at Empire Field.


title: Vancouver Whitecaps FC

text: BC Place is a 54,500-seat multi-purpose stadium designed for both Canadian football and soccer. The stadium opened in 1983, but underwent a complete two-phase revitalization project between 2009 and 2011. The stadium now features the largest cable-supported retractable roof in the world and polytan artificial turf, which is certified by FIFA with a 2-star rating. The Whitecaps reduce the stadium's capacity to 22,120 for matches by using white sails (known as the "secondary roof") to close off the upper bowl. Club ownership initially hoped to build Whitecaps Waterfront Stadium in Gastown in time for the 2016 season, but the club has committed to BC Place in light of stadium opposition.


title: Vancouver Whitecaps FC

text: The club played most of its inaugural season at Empire Field, a temporary stadium built at the former site of Empire Stadium to house the Whitecaps and the BC Lions while BC Place was being renovated. Empire Field was a 27,500-seat multi-purpose stadium that featured FIFA 1-star rated FieldTurf. The team played its final match at Empire Field on September 24, 2011, a 3–1 loss to Seattle Sounders FC. The following week, the Whitecaps played their first match at BC Place, a 1–0 loss to Portland Timbers on October 2, 2011.


title: Vancouver Whitecaps FC

text: The club does not have a permanent training facility, opting instead to use facilities around Greater Vancouver. However, the club partnered with the Government of British Columbia and the University of British Columbia (UBC) to build a $32.5 million National Soccer Development Centre on the UBC campus, which opened on September 22, 2017.


title: Vancouver Whitecaps FC

text: Near the end of the 2020 and at the beginning of the 2021 seasons, the club was forced to play their home matches in the United States due to the Canadian government's response to limit cross-border travel during the COVID-19 pandemic. The club shared facilities with Portland Timbers Providence Park in Portland, Oregon where they would play one of their rivalry matches as the home team. In 2021, the club would play most of their home matches at Rio Tinto Stadium in Sandy, Utah since the start of the season.


title: Vancouver Whitecaps FC

text: The largest Whitecaps supporters group is known as the Southsiders. The group began in 1999 when fans of the Vancouver 86ers began congregating in the pitch-level beer garden behind the goal at the south end of Swangard Stadium.


title: Vancouver Whitecaps FC

text: The Southsiders' relationship with the team's ownership has not always been amicable, but improved since the announcement of an MLS expansion team. Images of the Southsiders are featured prominently in Whitecaps' marketing campaigns and the group's board was invited to the invite-only launch of the kits and logo to be used in MLS. The expansion has also increased membership to over 1200 and 100 paid members by July 2010. Southsider supporters were primarily located in the southeast corner (sections 249–254) of BC Place stadium; the majority of the group later relocated to the new general admission section at BC Place in half of section 253 and all of section 254 that was introduced for the 2020 MLS season.


title: Vancouver Whitecaps FC

text: The three biggest supporter groups are the Vancouver Southhsiders, Curva Collective and the Rain City Brigade. There are several sub-groups that have emerged, members of which are sometimes also members of the three larger groups. Founded after the 2011 season, Curva Collective focuses on visual displays and was previously located in the southwest "curve" in sections 203 and 204 at BC Place. Rain City Brigade was established in 2010, occupying part of Section 201 and marching on matchdays from Library Square.


title: Vancouver Whitecaps FC

text: The Whitecaps are also home to North America's first ever all youth supporter group, Vancouver Albion. They stand in section 254, and have become one the 'Caps biggest groups with over 100 members. The Prawnsiders have existed since the Whitecaps' Swangard years, but organized formally at the beginning of the inaugural MLS season in 2011. The name "Prawnsiders" comes from "prawn-sandwich brigade", a term often used to describe soccer supporters who sit in the more expensive seats. They are primarily located in sections 244 and 245. South Sisters provide a positive meeting space for Vancouver Whitecaps supporters who identify as female, LGBTQ2+, or allies. The group was officially formed in 2019. Couch Ultras, named for their origins as a home-based group, organizes tifo displays at BC Place for the Whitecaps and Canadian national teams.


title: Vancouver Whitecaps FC

text: In 2020, a new general admissions supporters section (named the Village Stand) was introduced in half of Section 253 and all of Section 254, adjacent to the tunnel where the players enter the pitch. Membership in a supporters group is not required and seating is unassigned. The majority of the Vancouver Southsiders and Curva Collective are located here. Standing and chanting are permitted throughout the match in this' section.


title: Vancouver Whitecaps FC

text: The official mascot for the Whitecaps is Spike, a Belted kingfisher, a bird common to the Vancouver area.


title: Vancouver Whitecaps FC

text: The Vancouver Whitecaps have longstanding rivalries with both the Portland Timbers and Seattle Sounders FC. The rivalries predate MLS and have been an integral part of the soccer culture in the Pacific Northwest. Matches between these three teams are arguably the most passionate in all of MLS as each of these teams are well-supported by their respective cities.


title: Vancouver Whitecaps FC

text: The Portland Timbers are one of the Whitecaps' biggest and longtime rivals, with an antagonistic history between the clubs going back to 1975 in the original North American Soccer League. In the A-League and USL First Division Portland and Vancouver clashed in crucial, and often physical matches during the late 2000s, with the clubs facing each other in memorable playoff duels in 2007, 2009, and 2010. The two clubs played for the 100th time in 2017, and the rivalry is one of the most-played in US soccer history.


title: Vancouver Whitecaps FC

text: The Vancouver Whitecaps also have rivalries with Toronto FC and the CF Montreal. Vancouver's first game in MLS was against Toronto in an attempt by the league to spur a rivalry between the two Canadian teams. Montreal was a rival in the second division. The three teams have played each other during Voyageurs Cup competitions.


title: Vancouver Whitecaps FC

text: All Whitecaps matches are broadcast on television and radio. Through the 2013 season, Sportsnet Pacific and Sportsnet One nationally broadcast all "regional" Whitecaps games not televised by TSN or TSN2 as part of its national package of MLS games, broadcasting 24 games per season. Regional matches were called by Craig MacEwen, who does play-by-play, and former Vancouver 86ers goalkeeper Paul Dolan, who provides colour commentary. Dolan replaced former Vancouver Whitecaps midfielder Martin Nash, who provided colour commentary during the Whitecaps FC inaugural season. In January 2014, TSN (which is owned by Bell Media, a subsidiary of the Whitecaps' founding sponsor Bell Canada) announced that it would take over broadcast rights to these "regional" Whitecaps games beginning in the 2014 Major League Soccer season. In 2014, selected games aired on CIVT-DT and CIVI-DT due to scheduling conflicts. As of 2021, TSN streams all 34 regular season games, with playoff games if qualified. The current broadcasting team features Blake Price doing play-by-play, and Dolan as colour commentator, after Peter Schaad was relieved of his play-by-play duty in April 2021.


title: Vancouver Whitecaps FC

text: On radio, Whitecaps games are primarily broadcast on AM 730 with Asa Rehman and Colin Miller. Until the end of the 2016 season, matches broadcast on radio has play-by-play duties shared between Schaad and Scott Rintoul, and by former Vancouver Whitecaps midfielder David Norman, who provides colour commentary. Norman replaced Paul Dolan prior to the 2012 MLS season, after Dolan joined the Sportsnet broadcasting team.


title: Vancouver Whitecaps FC

text: Vancouver Whitecaps FC is owned by a group of four investors: Greg Kerfoot, Steve Luczo, Jeff Mallett, and Steve Nash. The group has a collective net worth over $2 billion. Kerfoot has been the majority owner of the Whitecaps since 2002, when he saved the club from contraction after previous owner David Stadnyk left the club, selling it to United Soccer Leagues. Mallett, a former chief operating officer (COO) of Yahoo!, who was raised in Victoria, British Columbia, and played for several collegiate soccer teams. He later purchased minority stakes in the San Francisco Giants of Major League Baseball and English soccer club Derby County F.C. Having first met at a charity soccer event in 2005, Mallett partnered with Steve Nash—a two-time National Basketball Association (NBA) Most Valuable Player who was also raised in Victoria—to put together a bid for a minority share of English soccer club Tottenham Hotspur F.C. in 2008. After that transaction fell through, the duo contacted Kerfoot about a minority stake in the club. Nash is the older brother of former Whitecaps midfielder Martin Nash. The fourth partner, Steve Luczo, is the president, chairman, and CEO of Seagate Technology and a partner in Boston Basketball Partners L.L.C., a group who own the NBA Boston Celtics. Luczo met Kerfoot while the two were both employed by Seagate Technology, and Kerfoot contacted Luczo proposing he become part of the club's MLS bid. In 2009, the group paid a $35 million expansion fee to MLS for the right to join the league.


title: Vancouver Whitecaps FC

text: Whitecaps FC 2 was the farm club of the Vancouver Whitecaps that was established on November 21, 2014. Whitecaps FC 2 began competing in the 2015 season, in the USL. On November 27, 2017, the Whitecaps dissolved their reserve side in favour of affiliating with 2018 expansion club Fresno FC. A new reserve team, also named Whitecaps FC 2, joined the newly established MLS Next Pro league in 2022.


title: Vancouver Whitecaps FC

text: The Whitecaps organization owned and operated a women's team in the USL W-League from 2001 to 2012 that played at Swangard Stadium. Originally named the Vancouver Breakers, the club was renamed the Whitecaps in 2003 under the ownership of Greg Kerfoot. The team won the W-League championship twice (in 2004 and 2006) and finished as runners-up in 2010. In its place, the Whitecaps launched an EXCEL youth development program for girls in partnership with B.C. Soccer and Canada Soccer.


title: Vancouver Whitecaps FC

text: In 2019, several former Whitecaps Women players published allegations of sexual abuse and misconduct from coaches at the club. The claims centered around behaviour by head coach Bob Birarda, who was fired in 2008 after an internal investigation, and Hubert Busby Jr., who coached the team from 2011 to 2012. Several supporters groups for the men's team organized protests and walk-outs during matches in April and May 2019 in support of an independent investigation into the allegations. At one protest in May, they were joined by visiting Portland Timbers fans.


title: Vancouver Whitecaps FC

text: In late 2021, MLS announced an independent investigation and review into the conduct of both coaches as well as the Whitecaps organization. The investigation found that the Whitecaps' response "was appropriate" and "adhered to all of the [internal] investigator's recommendations". A parallel investigation into Canada Soccer's actions found that the allegations of Birarda's behaviour with the under-20 team were "mishandled" by CSA.


title: Vancouver Whitecaps FC

text: Whitecaps FC Academy, formerly known as the Whitecaps Residency program, is the youth academy and development system of Vancouver Whitecaps FC that was established in 2007. The academy fields men's and women's teams in League1 British Columbia, which commenced in 2022.


title: Vancouver Whitecaps FC

text: This is a partial list of the last five seasons completed by the Whitecaps. For the full season-by-season history, see List of Vancouver Whitecaps FC seasons. For a historical list encompassing results from the previous two incarnations of the club, see History of Vancouver Whitecaps FC.


title: Vancouver Whitecaps FC

text: Vancouver has qualified for the CONCACAF Champions League three times, the first in the 2015–16 edition of the tournament.


title: Caroline Rhea

text: Caroline Gilchrist Rhea (; born April 13, 1964) is a Canadian actress and stand-up comedian, who is best known for her role as Hilda Spellman on the ABC series "Sabrina the Teenage Witch".


title: Caroline Rhea

text: She has performed numerous comedy specials, including three one-hour standup specials for HBO, Showtime, and Bravo. She is also known as the voice of Linda Flynn-Fletcher on the Disney Channel series "Phineas and Ferb" and as a regular on "Hollywood Squares" with her friend Whoopi Goldberg. Rhea was chosen by Rosie O'Donnell as the new hostess of her syndicated talk show (renamed "The Caroline Rhea Show") and hosted the reality television show "The Biggest Loser" on NBC for the first three seasons. She appeared regularly on ABC's "Match Game" with Alec Baldwin from 2016 to 2020. She would return to Disney Channel on the series "Sydney to the Max", playing the role of Grandma Judy.


title: Caroline Rhea

text: Rhea was born and raised in Westmount, Quebec, the daughter of Margery and David Rhea, an obstetrician and gynecologist, respectively. She has two sisters, Cynthia and Celia. She attended The Study, an all-girls private school in Westmount, Quebec; Dalhousie University in Nova Scotia; and the University of Arizona.


title: Caroline Rhea

text: Rhea moved to New York in 1986 to pursue a career as a comedian and actress. She began performing at venues like Catch a Rising Star and The Comic Strip, where she performed along with comedians including Chris Rock, Louis C.K., Dave Attell, Marc Maron, and Jim Gaffigan. She made her first filmed standup appearances on "MTV's Half-Hour Comedy Hour", "Comic Strip Live", and "Caroline's Comedy Hour".


title: Caroline Rhea

text: Rhea was given a one-hour special for HBO, called "One Night Stand". She followed it up with "Rhea's" "Anatomy", her one-hour special for Bravo, and "Give Me My Remote" for Showtime.


title: Caroline Rhea

text: After finding success in New York as a comedian, Caroline moved to Los Angeles to pursue an acting career in Hollywood, debuting on NBC's television series "Pride & Joy," where she co-starred with Jeremy Piven. She later gained widespread fame for her role as Aunt Hilda on the ABC (and later, The WB) series "Sabrina the Teenage Witch" and for her recurring role on the latest incarnation of "Hollywood Squares".


title: Caroline Rhea

text: Rhea is also well known for her role as Linda Flynn-Fletcher on the long-running Disney show "Phineas and Ferb"; for her syndicated daytime talk show, "The Caroline Rhea Show"; as the original host of "The Biggest Loser" on NBC; and for playing Noleta Nethercott on the TV series "" for Logo, which has been rebooted as a feature called "A Very Sordid Wedding".


title: Caroline Rhea

text: In 2004, she appeared in the cult classics "Mom's Got a Date with a Vampire" and "Christmas with the Kranks." In 2005, Rhea appeared in "The Perfect Man", playing a co-worker of Jean (Heather Locklear) and had a recurring role on the hit Disney Channel Original Series, "The Suite Life of Zack & Cody" as Ilsa Shickelgubermeiger-Von Helsing der Keppelugerhofer, an inspector turned manager of the rival hotel. In 2007, she starred in the original Lifetime Television movie "To Be Fat Like Me" opposite Kaley Cuoco and in the Fox animated series "Two Dreadful Children".