Some context: Robert Joseph Cousy (born August 9, 1928) is an American retired professional basketball player. Cousy played point guard with the Boston Celtics from 1950 to 1963 and briefly with the Cincinnati Royals in the 1969-70 season. Making his high school varsity squad as a junior, he went on to earn a scholarship to the College of the Holy Cross, where he led the Crusaders to berths in the 1948 NCAA Tournament and 1950 NCAA Tournament and was named an NCAA All-American for 3 seasons. Cousy was initially drafted by the Tri-Cities Blackhawks as the third overall pick in the first round of the 1950 NBA draft, but after he refused to report, he was picked up by Boston.
After retiring as a player, Cousy published his autobiography Basketball Is My Life in 1963, and in the same year became coach at Boston College. In the 1965 ECAC Holiday Basketball Festival at Madison Square Garden, Providence defeated Boston College 91-86 in the title game, when the Friars were led by Tourney MVP and All-American Jimmy Walker. Providence was coached by Joe Mullaney, who was Cousy's teammate at Holy Cross when the two men were players there in 1947. In his six seasons there, he had a record of 117 wins and 38 losses and was named New England Coach of the Year for 1968 and 1969. Cousy led the Eagles to three NIT appearances, including a berth in the 1969 NIT Championship and two National Collegiate Athletic Association tournaments, including the 1967 Eastern Regional Finals.  Cousy grew bored with college basketball and returned to the NBA as coach of the Cincinnati Royals, team of fellow Hall-of-Fame point guard Oscar Robertson. He later said about this engagement, "I did it for the money. I was made an offer I couldn't refuse." In 1970, the 41-year-old Cousy even made a late-season comeback as a player to boost ticket sales. Despite his meager output of 5 points in 34 minutes of playing time in seven games, ticket sales jumped by 77 percent. He continued as coach of the team after it moved from Cincinnati to Kansas City/Omaha, but stepped down as the Kings' coach early in the 1973-74 NBA season with a 141-209 record.  In later life, Cousy was Commissioner of the American Soccer League from 1974 to 1979. He has been a color analyst on Celtics telecasts since the 1980s." In addition, Cousy had a role in the basketball film Blue Chips in 1993, in which he played a college athletic director. Today he is a marketing consultant for the Celtics, and occasionally makes broadcast appearances with Mike Gorman and ex-Celtic teammate Tom Heinsohn.
What else did he do after retirement?
A: became coach at Boston College.
Some context: 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."
How many djs are not man or woman?
A: