![]() ![]() We have to keep driving to be in a position where all Premier 15s players will have the opportunity to be professional in the future.” “What we have to try and do as a club is close that gap as it’s very clear and evident that the contracted Red Roses have been full time for a while, you can tell that by how they play and their conditioning, so for us as clubs we’re working really hard to bridge that gap. “Hopefully we will get to the point where club players can start to be professional otherwise the gulf is going to get bigger between club and country,” said the former England captain. Yapp also believes professionalism is needed in the future. That’s where I’d love to see the women’s game go, semi-pro.” However, they need to be well rewarded in both avenues that they’re not scrimping because they’re only working three days. “What I would love to see is all my athletes go semi-professional where they have two or three days of work and two or three days of rugby- I think that’s where the game is at at the moment. Two women who know the English club game inside out, Giselle Mather, Wasps Women Head Coach and Worcester Warriors Women Head Coach Jo Yapp, believe professionalism is the way forward. The cap limit for next season is currently under discussion. You can’t mention professionalism without mentioning the salary cap which at present sits as a soft cap at £120,000 per Premier 15s club, doubled from the initial £60,000 cap put in place by the RFU in 2020 to ensure the process of paying the players was done gradually and the league remained competitive. The word ‘professionalism’ has been on the lips of players, fans, coaches and journalists for a few years now, but as the league continues into its fifth season and gets more well known, competitive and team’s strength in depth grows, it becomes more and more pertinent- is professionalism around the corner? ![]() So, we ask the question: where does the already successful league go next? American Folk Songs, Wellsprings of Music, and the prime-time series, Back Where I Come From, exposed national audiences to regional American music and such homegrown talents as Woody Guthrie, Lead Belly, Aunt Molly Jackson, Josh White, the Golden Gate Quartet, Burl Ives, and Pete Seeger,” who described Lomax as “more responsible than any other person for the twentieth-century folk song revival.In women’s sport we’re never happy to stand still, or we shouldn’t be. In 1939, “while doing graduate work in anthropology at Columbia University,” notes a biography at Lomax’s Association for Cultural Equity, “he produced the first of several radio series for CBS. Lomax and his son Alan - “ the man who recorded the world,” as biographer John Szwed called him - popularized folk music thirty years before Dylan recorded his first album and were among the first white listeners to recognize the genius of Robert Johnson.Īlan Lomax began traveling the country with his father in 1933. But the thousands of Lomax recordings, films, books, articles, and other documents not only conserved regional music they also helped transform mass culture by introducing local forms that have since become part of a global musical grammar. The work of ethnomusicologist father and son team John and Alan Lomax was intended to preserve the local musical cultures of the United States and regions around the world against an encroaching mass media threatening to erase them. ![]()
0 Comments
Leave a Reply. |
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |