Answer the question at the end by quoting:

A disc jockey, often abbreviated as DJ, is a person who plays existing recorded music for a live audience. Most common types of DJs include radio DJ, club DJ who performs at a nightclub or music festival, and turntablist who uses record players, usually turntables, to manipulate sounds on phonograph records. Originally, the "disc" in "disc jockey" referred to gramophone records, but now "DJ" is used as an all-encompassing term to describe someone who mixes recorded music from any source, including cassettes, CDs, or digital audio files on a CDJ or laptop. The title "DJ" is commonly used by DJs in front of their real names or adopted pseudonyms or stage names.
In Western popular music, women musicians have achieved great success in singing and songwriting roles, however, there are relatively few women DJs or turntablists. Part of this may stem from a general low percentage of women in audio technology-related jobs. A 2013 Sound on Sound article stated that there are "...few women in record production and sound engineering." Ncube states that "[n]inety-five percent of music producers are male, and although there are female producers achieving great things in music, they are less well-known than their male counterparts." The vast majority of students in music technology programs are male. In hip hop music, the low percentage of women DJs and turntablists may stem from the overall male domination of the entire hip hop music industry. Most of the top rappers, MCs, DJs, record producers and music executives are men. There are a small number of high-profile women, but they are rare.  In 2007 Mark Katz's article "Men, Women, and Turntables: Gender and the DJ Battle," stated that "very few women [do turntablism] battle[s]; the matter has been a topic of conversation among hip-hop DJs for years." In 2010 Rebekah Farrugia states "the male-centricity of EDM culture" contributes to "a marginalisation of women in these [EDM] spaces."  While turntablism and broader DJ practices should not be conflated, Katz suggests use or lack of use of the turntable broadly by women across genres and disciplines is impacted upon by what he defines as "male technophilia." Historian Ruth Oldenziel concurs in her writing on engineering with this idea of socialization as a central factor in the lack of engagement with technology. She explains: "an exclusive focus on women's supposed failure to enter the field ... is insufficient for understanding how our stereotypical notions have come into being; it tends to put the burden of proof entirely on women and to blame them for their supposedly inadequate socialization, their lack of aspiration, and their want of masculine values. An equally challenging question is why and how boys have come to love things technical, how boys have historically been socialized as technophiles."  Lucy Green has focused on gender in relation to musical performers and creators, and specifically on educational frameworks as they relate to both. She suggests that women's alienation from "areas that have a strong technological tendency such as DJ-ing, sound engineering and producing" are "not necessarily about her dislike of these instruments but relates to the interrupting effect of their dominantly masculine delineations." Despite this, women and girls do increasingly engage in turntable and DJ practices, individually and collectively, and "carve out spaces for themselves in EDM and DJ Culture". A 2015 article cited a number of prominent female DJs: Hannah Wants, Ellen Allien, Miss Kittin, Monika Kruse, Nicole Moudaber, B.Traits, Magda, Nina Kraviz, Nervo, and Annie Mac.  There are various projects dedicated to the promotion and support of these practices such as Female DJs London. Some artists and collectives go beyond these practices to be more gender inclusive. For example, Discwoman, a New York-based collective and booking agency, describe themselves as "representing and showcasing cis women, trans women and genderqueer talent."

Are there a lot of female djs?

few women in record production and sound engineering.



Answer the question at the end by quoting:

Namath was born and raised in Beaver Falls, Pennsylvania (30 miles (50 km) northwest of Pittsburgh), and grew up in its Lower End neighborhood. He is the son of Catholic parents, Rose (nee Juhasz) and Janos "John" Andrew Namath, a steelworker. His parents were of Hungarian descent. His Hungarian-born grandfather, Andras "Andrew" Nemeth, known as "A.J." to his family and friends, came to Ellis Island on the steamer Pannonia in 1911, and worked in the coal and steel industries of the greater Pittsburgh area.
The high point of Namath's career was his performance in the Jets' 16-7 win over the Baltimore Colts in Super Bowl III in January 1969, shortly before the AFL-NFL merger. The first two interleague championship games had resulted in blowout victories for the NFL's Green Bay Packers, and sports writers from NFL cities insisted the AFL would take several more years to be truly competitive. The 1968 Colts were touted as "the greatest football team in history", and former NFL star and Atlanta Falcons head coach Norm Van Brocklin ridiculed the AFL before the game, saying "This will be Namath's first professional football game." Three days before the game, Namath was tired of addressing the issue in the press, and he responded to a heckler at a sports banquet in Miami with the line: "We're going to win the game. I guarantee it."  Namath backed up his boast, which became legendary. The Colts' vaunted defense (highlighted by Bubba Smith) was unable to contain either the Jets' running or passing game, while the ineffective offense gave up four interceptions to the Jets. Namath was the Super Bowl MVP, completing eight passes to George Sauer alone for 133 yards. The win made him the first quarterback to start and win a national championship game in college, a major professional league championship, and in a Super Bowl.  The Jets' win gave the AFL instant legitimacy even to skeptics. When he was asked by reporters after the game whether the Colts' defense was the "toughest he had ever faced", Namath responded, "That would be the Buffalo Bills' defense." The AFL-worst Bills had intercepted Namath five times, three for touchdowns, in their only win in 1968 in late September.

What was his answer to the reporters about the Colt's?
"That would be the Buffalo Bills' defense.