Renate Titzia Groenewold is a Dutch former long track speed skater and road bicycle racer. Groenewold has won several Dutch Championships. In 1999, 2002 and 2003 she won the Dutch allround championship. At the European Allround Championships she has won various medals. Five times she came in third in the overall ranking. In 2005, she won the silver medal, her best result at the European Championships. In 2001, she came in third in the overall ranking on the World Allround Championships, which she won in 2004. Besides participating in the all-round championships Groenewold has participated in the championships for individual distances, her best results there were winning the team pursuit in 2008 and the 3000 meters in 2009. In 2002 Groenewold participated at the 2002 Winter Olympics, she won the silver medal in the 3000 m. However, on the 1500 m she fell in the second turn. At the 2006 Winter Olympics, rookie compatriot Ireen Wüst beat her to the gold on the 3000 m, leaving Groenewold with silver once more.

In 2007, Groenewold joined Team DSB Bank, a women's professional cycling team that competed in international and UCI Women's Road World Cup events. In 2010, Groenewold competed again in Vancouver, she was listed as one of lesbian athletes at the Games though she never publicly came out and denied she was a lesbian. She retired from speed skating that year. After her active skating career she was a coach from 2011 until 2014. In October 2018 she was appointed in the speed skating Technical Committee of the International Skating Union. Official website Renate Groenewold at SpeedSkatingStats.com

Women in Australia refers to women's demographic and cultural presence in Australia. A masculine bias has dominated Australian culture. Early colonial administrations were anxious to address the gender imbalance in the population brought about by the importation of large numbers of convict men; the first attempt to redress this balance was in 1777, with the voyage of the Lady Juliana, a chartered ship to carry only female convicts to NSW, but which became notorious on the trip and was nicknamed "the floating brothel" Between 1788 and 1792, around 3546 male to 766 female convicts were landed at Sydney. Women came to play an important role in welfare during colonial times. Governor Macquarie's wife, Elizabeth Macquarie took an interest in convict women's welfare, her contemporary Elizabeth Macarthur was noted for her'feminine strength' in assisting the establishment of the Australian merino wool industry during her husband John Macarthur's enforced absence from the colony following the Rum Rebellion.

The Catholic Sisters of Charity arrived in 1838 and set about providing pastoral care in a women's prison, visiting hospitals and schools and establishing employment for convict women. They established hospitals in four of the eastern states, beginning with St Vincent's Hospital, Sydney in 1857 as a free hospital for all people, but for the poor. Caroline Chisholm established a migrant women's shelter and worked for women's welfare in the colonies in the 1840s, her humanitarian efforts won her fame in England and great influence in achieving support for families in the colony. Sydney's first Catholic bishop, John Bede Polding founded an Australian order of nuns—the Sisters of the Good Samaritan—in 1857 to work in education and social work; the Sisters of St Joseph were founded in South Australia by Saint Mary MacKillop and Fr Julian Tenison Woods in 1867. MacKillop travelled throughout Australasia and established schools and charitable institutions, she was canonised by Benedict XVI in 2010, becoming the first Australian to be so honoured by the Catholic Church.

Australia had led the world in bringing women's suffrage rights during the late 19th century. Propertied women in the colony of South Australia were granted the vote in local elections in 1861. Henrietta Dugdale formed the first Australian women's suffrage society in Melbourne in 1884. Women became eligible to vote for the Parliament of South Australia in 1895; this was the first legislation in the world permitting women to stand for election to political office and, in 1897, Catherine Helen Spence became the first female political candidate for political office, unsuccessfully standing for election as a delegate to the Federal Convention on Australian Federation. Western Australia granted voting rights to qualified non-aboriginal women in 1899. Women energetically participated in the war effort, with few signs of defeatism or resistance to government policies. In 1922, the Country Women's Association was formed with the intention to improve the lives of women in rural Australia, it has since expanded to become the largest women's organisation in the country.

In 1974, the Commonwealth Court of Conciliation and Arbitration granted women the full adult wage. However, resistance to women being employed in certain industries remained until well into the 1970s; because of obstruction from elements of the Unions movement, it would take until 1975 for women to be admitted as drivers on Melbourne's trams, Sir Reginald Ansett refused to allow women to train as pilots as late as 1979. In 1984, the Sex Discrimination Act became enforced, making sex-based discrimination and sexual harassment illegal. Criminalization of marital rape in Australia began with the state of New South Wales in 1981, followed by all other states from 1985 to 1992; until the 1960s, the Australian national character was masculine. Only in more recent decades has attention been paid to the role and marginal status of women and minority groups. One of the earliest studies on the role of women in Australian culture was conducted by Miriam Dixson in her 1975 study, The Real Matilda. Dixson concluded that there was deep contempt for women in the Australian ethos and that the only role for women was within the family.

Marilyn Lake argues that the first stage of women's history in the 1970s demonstrated an angry tone, with a revolutionary critique that reflected its close connections with the women's liberation movement. By the late 20th century, women's history was less strident and more integrated into social history and labour history. In the 21st century, the emphasis has turned to a broader horizon of "gender relations", which includes such concepts as femininity and masculinity. Abortion in Australia is governed by state law rather than on federal law. Abortion was illegal under all circumstances. In this case, Justice Clifford Menhennitt ruled abortion could be considered legal if the physical and/or mental health or the life of the woman was endangered; the ruling was adopted in principle in New South Queensland in 1971 and 1984 respectively. As of 2019, Abortion is legal on demand in all Australian states and territories except for South Australia, it is estimated that a quarter to a third of Australian women will have an abortion in their lifetime, it has strong popular support.

According to a 2017 study, abortions in Australia have an average cost of $560 after receiving the Medicare rebate, with some women incurring extra costs from travel, accommodation, GP referrals, lost wages and medical tests. 34% of women surveyed reported they found payment for abortions difficult or difficult. The maternal mortality rate

The Hohaiyan Rock Festival is an annual Taiwan rock music festival held in Fulong Beach, Gongliao District, New Taipei, Taiwan. The name "Hohaiyan" came from the historical fact that Taiwan is an island surrounded by sea and waves. Taiwanese aborigines heard the wave sound coming to shore with a melody of "ho-hai-yan", thus "Hohaiyan" since has signified waves and oceans to them; this free music event first started in 2000 on 15 July. Notable musicians from Taiwan have performed in this concert, such as Mayday. Many from outside Taiwan have performed, such as Baseball from Australia, Mainland China, Hong Kong, Nepal, Singapore, United States etc; the concert venue is accessible within walking distance from TRA Fulong Station. Fulong Beach Music of Taiwan Culture of Taiwan List of music festivals in Taiwan 2011 Hohaiyan Rock Festival 2013 Hohaiyan Rock Festival

The SECAN SUC-10 Courlis was a French high-wing touring monoplane designed and built by Société d'Etudes et de Construction Aéronavales, a branch of the automobile company Société des Usines Chaussons. The aircraft had problems with the engine installation and only 144 were built, some without engines and were scrapped; the Courlis was an all-metal high-wing cantilever monoplane with twin booms supporting a tail unit. It was powered by a 190 hp Mathis G8R piston engine mounted in the rear fuselage in a pusher configuration, it had four seats in the enclosed cabin. The prototype, registered F-WBBF, first flew on 9 May 1946. Production was started and a total of 144 aircraft were completed with a number being exported to South America. Problems with the engine resulted in the withdrawal of the engine's type certificate and some airframes were never fitted with an engine and scrapped; the company did test fit the aircraft with a 220 hp Mathis engine but production was ended. The aircraft flew for some years, owned by French private pilots, but by the mid-1950s, most had been withdrawn from service, with many being stored at Mitry-Mory airfield near Paris.

In 1961 the design was revised as the SUC-11G Super Courlis with a 240 hp Continental O-470M engine, but was abandoned after a prototype was built. SUC-10 Courlis Production variant with 144 built. SUC-11G Super Courlis Improved design with a 240hp Continental O-470M engine, only one built. One aircraft is held by the Musée de l'Air et de l'Espace, Le Bourget, France, but is not on public display. Data from, Jane's all the World's Aircraft 1947General characteristics Crew: 1 Capacity: 3 passengers Length: 8.18 m Wingspan: 12.35 m Height: 2.68 m Wing area: 19.10 m2 Empty weight: 895 kg Gross weight: 1,439 kg Max takeoff weight: 1,560 kg Fuel capacity: 200 l in two centre-section tanks Powerplant: 1 × Mathis G.8R-40 air-cooled inverted-V piston engine, 149 kW Propellers: 2-bladed wooden fixed-pitch pusher propellerPerformance Maximum speed: 250 km/h Cruise speed: 220 km/h Landing speed: 80 km/h Range: 1,230 km with pilot and three passengers + luggage Service ceiling: 5,000 m Aircraft of comparable role and era Cessna 337 THK-11

György Sándor was a Hungarian pianist and writer. Sándor was born in Budapest, he studied at the Liszt Academy in Budapest under Béla Bartók and Zoltán Kodály, debuted as a performer in 1930. He toured as a concert pianist through the 1930s, making his Carnegie Hall debut in 1939, he became an American citizen and served in the Army Signal Corps and the Intelligence and Special Services from 1942 to 1944. Sándor remained friends with Bartók throughout his life, was one of only ten people who attended Bartók's funeral in 1945. Sándor played the premiere of Bartók's Piano Concerto No. 3 on 8 February 1946 with the Philadelphia Orchestra conducted by Eugene Ormandy in Philadelphia, Pennsylvania. The performance was repeated on 26 February 1946 by the same ensemble in Carnegie Hall, New York, recorded for Columbia Masterworks in April 1946. Following World War II, he returned to the concert stage, his technique was described as "Lisztian" and his repertoire universal, although in his career his playing of Bartók was much in demand.

He recorded numerous piano works by Bach, Brahms, Liszt, Rachmaninov and others for Columbia Masterworks. With Vox, he recorded the complete works for solo piano of Zoltán Kodály and of Sergei Prokofiev. In 1950 he married Christa, née Satzger de Bálványos, the divorced wife of Archduke Karl Pius of Austria, they had one son and were divorced. Sándor taught at the Southern Methodist University at the University of Michigan from 1961 to 1981, from 1982, at the Juilliard School, he continued to perform into his nineties. His pupils included Hélène Grimaud, Deniz Arman Gelenbe, György Sebők, Aleksandra Romanić, Christina Kiss, Barbara Nissman, Ian Pace, Ljuba Moiz, Jungwon Jin, Derek Wieland, fortepiano performer Malcolm Bilson, renowned teacher, Dr. J. D. Kelly, composers Ezequiel Viñao, Donald Bohlen. In 1996 New York University awarded Sándor an honorary doctorate, he wrote a book "On Piano Playing: Motion, Expression", published by Schirmer Books, one of the most rational and clear accounts of piano technique.

"Today more than audiences mistake the excessively tense muscular activities of the performer for an intense musical experience, all too we see the public impressed and awed by convulsive distortions and spastic gyrations." Writing in The Guardian newspaper, Leo Black commented "musical performance needs the sense of rightness and economy that pervaded his playing and thinking". "On Piano Playing" details approaches to many problems that pianists face. Sándor emphasized the use of an endless source of energy, during playing. Ideas on memorizing are addressed. Importantly,"On Piano Playing" corrects these common misconceptions: pianists only play with their fingers and only a few have the physical ability to play the piano. A manuscript of a book on his mentor Béla Bartók and his music remains unpublished, he produced several piano transcriptions, including a fantastically difficult arrangement of The Sorcerer's Apprentice by Dukas, the first two movements of Bartók's Sonata for Solo Violin. He edited and published Bartók's own unpublished piano arrangement of the Concerto for Orchestra, at the request of the composer's son in 1985.

It was published in 2001, has been recorded by Sándor. Sándor wrote in his introduction to the edition: "It was agreed that the primary goal would not be to make the piano score easier to play, but to make it playable at all. Furthermore, since Bartók's piano score contains only the first ending of the last movement, my role was to provide a reading for the second ending. Bartók wrote the second ending to avoid the rather abrupt conclusion of this grandiose work, this is now accepted as the standard version of the last movement." He edited the works for solo piano of Sergei Prokofiev. He died in New York City of heart failure at age 93. György Sándor plays Béla Bartók: Concerto for Orchestra, transcription for piano György Sándor plays Bach-Liszt Fantasy & Fugue in G minor Sándor, György.. "On Piano Playing: Motion and Expression". Boston, MA: Schirmer. Interview with György Sándor by Bruce Duffie, February, 1990 David Dubal interview with György Sándor on YouTube, WNCN-FM, 10 August 1982 David Dubal interview with György Sándor on YouTube, WNCN-FM, 24 June 1983 http://pastdaily.com/2015/06/10/gyorgy-sandor-piano-recital-at-wncn-1983-past-daily-mid-week-concert/

Brushmen of the Bush was a painting group of five artists who collaborated in Broken Hill, New South Wales in 1973. It was active until 1989; the five members of the group were Pro Hart, Eric Minchin, Jack Absalom, John Pickup and Hugh Schulz. Following their inaugural exhibition in 1973, the name Brushmen of the Bush was coined by Lorraine Hickman for a two-page article in The Australian Women's Weekly. More than 50 subsequent exhibitions raised over one million, six hundred and forty thousand Australian dollars for various charities, notably the Royal Flying Doctor Service. During the 1970s, Brushmen of the Bush exhibited in London, New York City and Los Angeles; the Broken Hill City Council declared 2006 "The Year of the Brushmen of the Bush" to honour the Group's contribution to the city through art. The Broken Hill Regional Gallery mounted a "Brushmen of the Bush" Retrospective Exhibition, curated by Bettina MacAulay; the Brushmen of the Bush Retrospective Exhibition toured eleven regional galleries in New South Wales, South Australia and Queensland from 2006 to 2009.

Forty-four Brushmen exhibitions were staged for charity and further exhibitions organised by dealer and civic galleries have taken the total number of exhibitions to well over fifty. The Group exhibitions were always staged in aid of charitable organisations and donations of paintings for auction and raffles swelled the commissions on sales to over $1,640,000 when CPI calculations adjust the 1973 to 1989 dollar figures to today's values. Eric Minchin died on 15 June 1994, Hugh Schulz on 23 September 2005 and Pro Hart was afforded a State Funeral following his death on 28 March 2006. Jack Absalom died on 22 March 2019; the only surviving Brushman, John Pickup, lives in Queensland. Broken Hill's current thriving arts scene traces its roots back to the Brushmen of the Bush