A Quote by Sue Bird

I think it's hard to compare the NBA and the WNBA, but the thing about the NBA is they just have a ton of movement every year, but the WNBA doesn't. Free agency is not set up that way; the money is obviously not set up that way, so when one player moves, it could set the stage for, literally, like, six or seven years.
The ideal set up would be to own an NBA team, a D-League team, and a WNBA team.
You work for the WNBA. Obviously, they want us to prioritize the WNBA as being No. 1 on our list, but the reality is other people are paying the bills. That's the way it is.
Every photograph could be set up. If one could imagine it, one could set it up. The whole discussion is a way of not talking about photographs.
Every NBA arena has six cameras in the ceiling. The question is what does the software do with video feeds? How to surface that in a set of analytics? There are some "playbooks," but in most sports these days what you really want to share out with coaches and players is a set of video that lets you visualize what's going on and what's the best way to do things.
I look at it this way: the WNBA is 13 years young. I think eventually women will get to that point, maybe in my daughter's generation, where their salaries will be similar to men's. But we're still starting off, like, where the NBA was back in the 1950s.
We know the WNBA is not making billions of dollars like the NBA, but we want to be in a place where we don't have to play basketball all year round.
Obviously in the NBA, winning is everything; every NBA player will tell you when you are in a winning situation that's what this league is about. That one year in Phoenix when we went to the Western Conference finals was amazing; Portland when we got to the second round was a great year.
Unfortunately, music is a male-dominated industry. It's not that there aren't plenty of women working in the industry, it's just, the higher up you go... it's like how women who play in the WNBA make so little, compared to men in the NBA.
In the 1930s and the 1940s, we set up the FHA. We set up the Home Owners' Loan Corporation. We set up specific bureaus to make our communities look the way they look.
I did 21 years of hard labor in the NBA, invested my money right, so I'm set. I earned the right to relax and enjoy, you know?
The NBA and WNBA, I'm so very grateful for their support.
I've been really vocal about my disappointment about how the WNBA athletes get treated like second-class citizens in relations to the NBA when they're a subsidiary.
Now, everybody knows the basic erogenous zones. You got one, two, three, four, five, six, and seven. ... OK, now most guys will hit one, two, three and then go to seven and set up camp. ... You want to hit 'em all and you wanna mix 'em up. You gotta keep 'em on their toes. ... You could start out with a little one. A two. A one, two, three. A three. A five. A four. A three, two. Two. A two, four, six. Two, four, six. Four. Two. Two. Four, seven! Five, seven! Six, seven! Seven! Seven! Seven! Seven! Seven! Seven! Seven! Seven! Seven! [holds up seven fingers]
We need more NBA owners to own WNBA teams.
One thing that is very different technically is that you don't get a lot of coverage in television. Not like you do on a film. I know we don't have time for separate set-ups, so I will design a scene where I'm hiding multiple cameras within that set-up. That way, if I don't have time to do five set-ups, I can do four cameras in one set-up. It's a different kind of approach for that. For the most part, a lot of television, in a visual sense, lacks time for the atmosphere and putting you in a place.
I grew up playing sports, so I think of what it would be like to be in the NBA if you were a great player when Michael Jordan was playing. You could've been a phenomenal player, but you're in the Jordan era. That's the unfortunate thing about the competitive nature of entertainment. But we know what we signed up for.
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