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."

When did Lucy start being a dj?

A 2015 article cited a number of prominent female DJs:

IN: Grandaddy is an American indie rock band from Modesto, California. The group was formed in 1992, and featured Jason Lytle, Aaron Burtch, Jim Fairchild, Kevin Garcia and Tim Dryden. After several self-released records and cassettes, the band signed to Will Records in the US and later the V2 subsidiary Big Cat Records in the UK, going on to sign an exclusive deal with V2. The bulk of the band's recorded output was the work of Lytle, who worked primarily in home studios.

Grandaddy was formed in 1992 by singer, guitarist and keyboardist Jason Lytle, bassist Kevin Garcia and drummer Aaron Burtch. The group was initially influenced by US punk bands such as Suicidal Tendencies and Bad Brains. Lytle was a former professional skateboarder, who had turned to music after a knee injury forced him to stop skating, working at a sewage treatment works to fund the purchase of equipment, and several of the band's early live performances were at skateboarding competitions.  The band members constructed a studio at the Lytle family home, and the band's first release was the self-produced cassette Complex Party Come Along Theories in April 1994. Singles "Could This Be Love" and "Taster" followed later that year. In 1995, guitarist Jim Fairchild (another ex-pro-skater who had guested with the band before) and keyboardist Tim Dryden joined the band. A second cassette, Don't Sock the Tryer was withdrawn, with the band instead releasing debut mini-album A Pretty Mess by This One Band in April 1996 on the Seattle-based Will label.  In 1997 they released their debut full-length album Under the Western Freeway, and, with the help of Howe Gelb, signed a UK deal with Big Cat Records (by then a subsidiary of V2), who reissued the album the following year. The album included the single "A.M. 180", which was featured during a sequence in the 2002 British film 28 Days Later. It was also used for the theme song for the BBC Four television series Charlie Brooker's Screenwipe, and in an advertisement for Colin Murray's BBC Radio 1 show. "A.M. 180" was also used in television commercials for the Dodge Journey automobile. One of the album's singles, "Summer Here Kids", was rated as "Single of the Week" by popular British music magazine NME, and was also used as the theme music for another Charlie Brooker-fronted show, BBC Radio 4's So Wrong It's Right. The album led to an increase in the band's popularity in Europe, and a main stage performance at the Reading Festival in 1998. The album was only a success in the US when later reissued by V2. With the band busy touring in 1999, their next release was the compilation The Broken Down Comforter Collection.

What early releases did Grandaddy do?

OUT:
first release was the self-produced cassette Complex Party Come Along Theories in April 1994.