IN: Tara Ann VanDerveer (born June 26, 1953) is an American basketball coach who has been the head women's basketball coach at Stanford University since 1985. Designated the Setsuko Ishiyama Director of Women's Basketball, VanDerveer led the Stanford Cardinal to two NCAA Women's Division I Basketball Championships: in 1990 and 1992. She stepped away from the Stanford program for a year to serve as the U.S. national team head coach at the 1996 Olympic Games. VanDerveer is the 1990 Naismith National Coach of the Year and a ten-time Pac-12 Coach of the Year.

VanDerveer was born on June 26, 1953, to Dunbar and Rita VanDerveer, who named their first child "Tara" after the plantation in Gone with the Wind. She was born in Melrose, Massachusetts, a part of Greater Boston, but grew up in a small town in West Hill, near Schenectady, New York. Her parents were interested in a well-rounded education. Her father was studying for a doctorate at the school now known as the University at Albany. He took the family to Chautauqua in the summer, where she immersed in arts as well as sports. At the age of ten, her parents bought her a flute, and arranged for lessons. Two years later, one of the premier flutists in the world was staying in Chautauqua, and her father arranged for lessons with this distinguished teacher. Although she learned to play, she did not enjoy the experience, and gave up the flute in ninth grade. The love of music stayed with her though, and in later years she would take up the piano. There were no sports teams for girls when she was in high school, but she played a number of sports including basketball, in rec leagues and pickup. When she was younger, she played with both boys and girls. As she entered her high school years, the girls dropped out for other interests, so she was more apt to play with boys. To help make sure she would be chosen, she bought the best basketball she could afford, so if the boys wanted to play with her basketball, they would have to pick her. Her father wasn't completely supportive of her basketball interest, calling her in from the neighbor's basketball hoop, telling her, "Basketball won't take you anywhere. Come in and do your algebra." Tara was equally certain that algebra wasn't going to take her anywhere. Her family moved to Niagara Falls in her sophomore year in high school. The house in West Hill had a gravel driveway, making a basketball hoop impractical, but when her parents got her a hoop for Christmas when they were in Niagara Falls. By then, she thought she was too old for basketball, although she would take it up again after she transferred to Buffalo Seminary, an all-girls college preparatory school, in her junior year. She ended up earning a place in the Buffalo Seminary's Athletic Hall of Fame.
QUESTION: How did she become more interested in coaching?
IN: Modern Sounds in Country and Western Music is a studio album by American R&B singer-songwriter and musician Ray Charles. It was recorded by Charles in February 1962 at Capitol Studios in New York City and at United Recording Studios in Hollywood, then released in April of that year by ABC-Paramount Records. The album departed stylistically from the singer's previous rhythm and blues music. It featured country, folk, and Western music standards reworked by Charles in popular song forms of the time, including R&B, pop, and jazz.

Following his blues fusion with gospel and jazz influences on his earlier Atlantic material, which had brought him much fame and controversy, Charles sought to experiment with country music. As noted by himself in the liner notes for What'd I Say (1959), Charles was influenced by the genre in his youth, stating that he "used to play piano in a hillbilly band" and that he believed that he "could do a good job with the right hillbilly song today." At Atlantic, he attempted to incorporate this style and influence with his cover of country singer Hank Snow's "I'm Movin' On". Charles later said about the song, "When I heard Hank Snow sing 'Moving On', I loved it. And the lyrics. Keep in mind, I'm a singer, so I like lyrics. Those lyrics are great, so that's what made me want to do it." The "I'm Movin' On" sessions were his last for Atlantic. Charles's recording of his acclaimed studio effort The Genius of Ray Charles (1959) brought him closer to expressing his jazz and pop crossover ambitions. Described by one music critic as "the most important of his albums for Atlantic", the record was the first to introduce Charles's musical approach of blending his brassy R&B sound with the more middle of the road, pop-oriented style, while performing in the presence of a big band ensemble. Recording of the album, as well his ABC-Paramount debut, The Genius Hits the Road (1960), a collection of place-name songs devoted to parts of the United States, expanded on Charles's thematic and conceptually-organized approach to albums rather than commercially successful singles production. Inspired by this approach and his recording of "I'm Movin' On", Charles originally made plans for a single-less concept album. When Charles had announced that he wanted to work on an album of country music in 1961, during a period of racial segregation and tension in the United States, he received generally negative commentary and feedback from his peers, including fellow R&B musicians and ABC-Paramount executives. The country album concept, however, meant more to Charles as a test of his record label's faith in him and respect for his artistic freedom than as a test of social tolerance among listeners amid racial distinctions of country and R&B. Fueled by his esteem for creative control, Charles pitched the idea of a country album to ABC representatives. Following the successful lobby of the concept and a contract renewal in early 1962, which was linked to the launching of his own Tangerine label, Charles prepared his band for the recording sessions that produced Modern Sounds in Country and Western Music.
QUESTION:
did it work out well for him ?