I should have known coming from you - Ohio -
she's only a junior. Be interesting to see her next year.
My question - what the heck is up with their mascot. It is one (hate to say) ugly mascot.
"She's the best point guard in the nation," said St. Mary's coach Paul Thomas, whose team repeatedly has been pummeled by Gonzaga. "If I had to pick a team right now, I'd start with her."
The shy blonde, who is treated like a rock star in this city of 200,000, is leading the NCAA Tournament with 30.7 points per game, 11 more than her season average. Vandersloot also is averaging her usual 10 assists per game, putting Gonzaga (31-4) on the brink of its first Final Four.
Read more: http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2011/03/27/SP3V1IKDLL.DTL#ixzz1I1FDKjhI
She is impressive. I can't wait to see her in the WNBA
The average starting salary in the WNBA is around $35,000 a year. The average starting salary in the NBA is $458,000 a year. A vet in the WNBA can earn up to $110,000 a year. I don't think I have to tell you how much the men make. OK, twist my arm. Kobe Bryant makes nearly $25 million a year.
We'll likely never hear of Courtney Vandersloot again, although I hope we do. I'll do my part and go see a Liberty game this summer, you know, support the league. Maybe get a hot dog and some popcorn. Fan up, women! And congrats to Courtney
The Great Recession has challenged the WNBA by disrupting audience attendance, revenue and owners' financial interest. The WNBA is attempting to maintain its viability by discovering new sources of income, such as its eight-year TV arrangement with ABC/ESPN.
Meanwhile, WNBA players continue to head overseas to collect larger paychecks in places such as Poland, Israel and Turkey during their off-season.
And then there is the money from the tour. A musician, especially one with a following in Europe, can earn up to 80 percent of his annual income during a summer tour. It is not unusual for a headliner to make $100,000 or more in a month of concerts. Not rock-star money, perhaps, but for jazz musicians it is substantial.
"Europe is absolutely essential for jazz musicians," said Joel Criss, a booking agent in New York. "Musicians can survive here not going to Europe, but to get the big money, Europe is very important. The money allows them to relax a bit during the year so they can recharge and work on their art."
What's more, American record companies believe that much of Europe remains to be mined as a jazz market. The festival circuit, already huge, is still growing, which means that there are ripe opportunities for familiar artists to be rediscovered and for new ones to build reputations.