Problem: Native women in Hong Kong used to be situated within the context of Chinese family and society, in which they were treated the same as Mainland women or Taiwanese women. Under the traditional Chinese patriarchy structure, the society was male-dominated, and women had a relatively subordinate familial role. However, there are cultural differences between Mainland Chinese citizens and citizens of Hong Kong. During the British colonial period the emergence of Western culture (i.e. "Westernization") created a mix of traditional Chinese culture and Western values.

Women were in the workforce as early as the 1920s, but the small population of them often had to fight vigorously for equality of work rights. With the shift of Hong Kong's economy from manufacturing industry to services industry since the 1980s, there is a growing demand for white collar workers. Abundant job opportunities are hence available for both men and women. Employment in Hong Kong can be enjoyed by women, who possess rights, such as maternity protection and sick leave. Nevertheless, women in Hong Kong are aware of the difficulties they face in being a woman in the workforce. For example, when surveyed, both men and women working in Hong Kong stated that they preferred to have a male supervisor over a woman supervisor.  In 2016, there are 49.3% females and 50.8% males in the employed population. In spite of the open-minded and relatively westernised culture in Hong Kong, the seemingly equal and fair workplace still poses obstacles on the way of women's career paths. 61.8% of females and 51.6% of males agreed that women have to sacrifice more than men for career success. Interestingly, 72.1% of females agreed that an increasing number of successful women is a positive social phenomenon, while only 59.6% of males shared the same view. The data showed that men, having the invisible privilege obtained from unequal gender perceptions, are content with the current situation and are slightly reluctant to the rising status of women, which might pose a threat to their career prospects.  The Hong Kong media clearly reflects the social stereotypes and norms. Performers of authority roles are mostly men, with commentaries and voice overs mainly heard in male voices as well, whereas women are chiefly depicted in domestic roles and gender-specific professions, for example, secretaries and nurses.  Despite the high education level and prospective vision women possess, it is uncommon to see women working on Hong Kong corporate boards and in senior management roles. Women account for only 11% of total director pool of Hong Kong's listed issuers and 33% of senior management roles, while the number of female participating in the labor force, which is 54% of the entire female population, lags behind many developed countries (67.6% in the US and 71% in the UK). The number of women in politics is also worryingly small. In the legislative council, there are only 12 female members among the 70 elected members. Comparing to 10 female members among the 60 elected members in 1998, women are clearly under-represented in the legislative stage of the city and such inadequacy will lead to prolonged suppression in women's rights and gender inequality.

Are there any other interesting aspects about this article?

Answer with quotes: Women account for only 11% of total director pool of Hong Kong's listed issuers and 33% of senior management roles,


Problem: Skyhooks were an Australian rock band formed in Melbourne in March 1973 by mainstays Greg Macainsh on bass guitar and backing vocals, and Imants "Freddie" Strauks on drums. They were soon joined by Bob "Bongo" Starkie on guitar and backing vocals, and Red Symons on guitar, vocals and keyboards; Graeme "Shirley" Strachan became lead vocalist in March 1974. Described as a glam rock band, because of flamboyant costumes and make-up, Skyhooks addressed teenage issues including buying drugs "Carlton (Lygon Street Limbo)", suburban sex "Balwyn Calling", the gay scene "Toorak Cowboy" and loss of girlfriends "Somewhere in Sydney" by namechecking Australian locales.

For Skyhooks, the replacement of Hill by Strachan was a pivotal moment, as Strachan had remarkable vocal skills, and a magnetic stage and screen presence. Alongside Macainsh's lyrics, another facet of the group was the twin-guitar sound of Starkie and Symons. Adopting elements of glam rock in their presentation, and lyrics that presented frank depictions of the social life of young Australia in the 1970s, the band shocked conservative middle Australia with their outrageous (for the time) costumes, make-up, lyrics, and on-stage activities. A 1.2 metre (4 ft) high mushroom-shaped phallus was confiscated by Adelaide police after a performance. Six of the ten tracks on their debut album, Living in the 70's, were banned by the Federation of Australian Commercial Broadcasters for their sex and drug references, "Toorak Cowboy", "Whatever Happened to the Revolution?", "You Just Like Me Cos I'm Good in Bed", "Hey What's the Matter", "Motorcycle Bitch" and "Smut". Much of the group's success derived from its distinctive repertoire, mostly penned by bass guitarist Macainsh, with an occasional additional song from Symons--who wrote "Smut" and performed its lead vocals. Although Skyhooks were not the first Australian rock band to write songs in a local setting--rather than ditties about love or songs about New York or other foreign lands--they were the first to become commercially successful doing so. Skyhooks songs addressed teenage issues including buying drugs ("Carlton (Lygon Street Limbo)"), suburban sex ("Balwyn Calling"), the gay scene ("Toorak Cowboy") and loss of girlfriends ("Somewhere in Sydney") by namechecking Australian locales. Radio personality, Billy Pinnell described the importance of their lyrics in tackling Australia's cultural cringe:  [Macainsh] broke down all the barriers [...] opening the door for Australian rock 'n' roll songwriters to write about local places and events. He legitimised Australian songwriting and it meant that Australians became themselves.  The first Skyhooks single, "Living in the 70's", was released in August, ahead of the album, and peaked at #7 on the Australian Kent Music Report Singles Charts. Living in the 70's initially charted only in Melbourne upon its release on 28 October 1974. It went on to spend 16 weeks at the top of the Australian Kent Music Report Albums Charts from February to June 1975. The album was produced by Wilson, and became the best selling Australian album, to that time, with 226,000 copies sold in Australia.  Skyhooks returned to the Sunbury Pop Festival in January 1975. They were declared the best performers by Rolling Stone Australia and The Age reviewers, and Gudinski now took over their management. The second single, "Horror Movie", reached #1 for two weeks in March. The band's success was credited by Gudinski with saving his struggling Mushroom Records and enabled it to develop into the most successful Australian label of its time.  The success of the album was also due to support by a new pop music television show Countdown on national public broadcaster ABC Television, rather than promotion by commercial radio. "Horror Movie" was the first song played on the first colour transmission of Countdown in early 1975. Despite the radio ban, the ABC's newly established 24-hour rock music station Double Jay chose the album's fifth track, the provocatively titled "You Just Like Me Cos I'm Good in Bed", as its first ever broadcast on 19 January.

Did they have any notable live performances during this period?

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