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."
Can you name one for me?
A: Lucy Green
Some context: 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.
Unhappy with the efforts of Will Records, the band signed a worldwide deal with Richard Branson's V2 Records in 1999, their first release on the label being the Signal to Snow Ratio EP in September that year. In May 2000 they released their second album, The Sophtware Slump, to critical acclaim. NME later placed it at number 34 in their "Top 100 Greatest Albums of the Decade", and The Independent described it as "easily the equal of OK Computer". The album reached number 36 on the UK Albums Chart, and the band's fanbase increased, including celebrities such as David Bowie, Kate Moss and Liv Tyler. By early 2001 the album had sold 80,000 copies worldwide. The first single from the album, "The Crystal Lake", became the band's first UK top 40 single when it was reissued in 2001.  Around the time that The Sophtware Slump was released, Grandaddy was invited to open for Elliott Smith on his tour for Figure 8. On some nights, Smith would join Grandaddy onstage and sing lead vocals on portions of "He's Simple, He's Dumb, He's the Pilot". The band later opened for Coldplay on their US tour in mid-2001. Also in 2001, the band's version of The Beatles' "Revolution" was used in the film I Am Sam.  Their third album, Sumday, recorded in Lytle's home studio, was released in 2003. The band promoted it with a pre-release US tour with Pete Yorn followed by a three-week European tour (including a performance at the Glastonbury Festival) and a larger US tour. Lytle described the album as "Grandaddy influenced by Grandaddy ... the ultimate Grandaddy record".  In 2004 and 2005 Lytle recorded Just Like the Fambly Cat, which was released as a Grandaddy album, although by then the band had decided to split up. The title is a reference to Lytle's desire to leave Modesto, a town which he complained "sucks out people's souls". Lytle created the album over a year and a half in his home studio in Modesto, "fueled by alcohol, painkillers for his body aches and ... recreational drugs", with only Burtch from the remainder of the band playing on it. At the same time as working on the album, Lytle created the EP Excerpts From the Diary of Todd Zilla, which was released first.
How many records did they sale?
A:
By early 2001 the album had sold 80,000 copies worldwide.