![]() ![]() “Elite women’s rugby in England has never been in a stronger place. Premiership Women's Rugby chief executive, Belinda Moore said: “Our ambition is to transform the league into the world's most competitive, progressive, and sustainable domestic rugby competition. ![]() The ambition for Premiership Women's Rugby is built on a new vision and mission to carry the organisation through the next decade and create a generation of players and fans inspired by world-class club competition Players will be at the heart of the latest phase of elite women’s club rugby in England, and instrumental to the project at MATTA is current Saracens player Flo Williams, their women's sport lead. As part of that strategy a new, ten-team, league will be launched as a partnership with the Rugby Football Union (RFU) and the clubs.Īlongside today’s launch is a fresh new look for Premiership Women's Rugby, created in partnership with MATTA, an award-winning independent, creative agency. Led by new chief executive officer, Belinda Moore, Premiership Women's Rugby has been established to deliver a ten-year strategy for women’s rugby in England. The mission of Premiership Women’s Rugby is to be the world's most competitive, progressive and sustainable domestic competition. The new company, consisting of a small team working closely with League clubs and the Rugby Football Union (RFU), will deliver the strategy, drive growth and lead the way in the development of professional women’s club rugby. ![]() And as they branched into global sounds (“I Zimbra,” “Born Under Punches,” “ Flowers”), they furthered their general case that however arty and detached they came off, they were as human as we were-and there was nothing stranger you could be.Leicester Tigers begin life at the elite level of the domestic game in what is a new era for women’s rugby in England, with the launch of Premiership Women’s Rugby (PWR) replacing the previous Premier 15s. Premiership Women’s Rugby will manage the Allianz Premiership Women’s Rugby club competition, which starts in the autumn. They made using your brain seem cool, and not mutually exclusive to using your hips or your heart. And for as playful it could be, their music maintained a baseline level of anxiety that hinted at rage and disillusionment without ever expressing it outright (“Crosseyed and Painless,” “Life During Wartime”). ![]() But even as they got a little weirder (“Once in a Lifetime,” “And She Was,” “Burning Down the House”), they retained a primitive simplicity that not only rejected conventional rock excess but flew in the face of the ’60s myths of peace and liberation that punk helped dismantle. Weirdest of all, they made music you could dance to (“Found a Job”). Byrne, who is dressed in a giant suit, answers blankly: “The better the singer’s voice, the harder it is to believe what they’re saying.” When the band started out in mid-'70s New York after meeting at the Rhode Island School of Design (Byrne, drummer Chris Frantz, bassist Tina Weymouth, and, later, keyboardist Jerry Harrison), they seemed like the antithesis to the rebellion of punk: They were mild-mannered, neatly dressed, well-educated, and soft-spoken (“Psycho Killer,” “The Big Country”). In a promotional video for Talking Heads’ 1984 live album Stop Making Sense, an interviewer who looks suspiciously like David Byrne as an elderly man asks David Byrne how he can be a singer when his voice is so bad. ![]()
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