Background: 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.
Context: 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."
Question: Does she work for a radio or club?
Answer: turntable and DJ practices,

Background: "Pride (In the Name of Love)" is a song by Irish rock band U2. The second track on the band's 1984 album, The Unforgettable Fire, it was released as the album's lead single in September 1984. Written about Martin Luther King Jr., the song received mixed critical reviews at the time, but it was a major commercial success for the band and has since become one of the band's most popular songs. "Pride" appeared on the compilation
Context: "Pride" reached #3 on the UK Singles Chart and #8 on the Dutch Singles Chart. The song was the band's first top 40 hit in the United States where it peaked at #33. It gained considerable US album-oriented rock radio airplay and its video was on heavy rotation on MTV, thus helping U2 continue its commercial breakthrough begun with the War album. It reached #1 in New Zealand, the first time a U2 single topped a country's singles chart.  Initial critical reactions to "Pride" were mixed, especially in regards to the lyrics. Robert Christgau in The Village Voice complained of "the moralism with the turn-somebody-else's-cheek glorification of Martin Luther King's martyrdom." Meanwhile, Kurt Loder of Rolling Stone wrote that "'Pride' gets over only on the strength of its resounding beat and big, droning bass line, not on the nobility of its lyrics, which are unremarkable."  But the 1984 Pazz & Jop poll of 240 music critics ranked "Pride" as the 12th best single of that year, a higher ranking than the overall album, which finished 29th. The single's ranking remained the highest of any U2 single until "One" achieved 8th in 1992. And in 1989, Spin named the song the 65th-greatest single in history. Rolling Stone magazine later (2010) placed the song at number 388 in their list "The 500 Greatest Songs of All Time". The Rock and Roll Hall of Fame selected "Pride (In the Name of Love)" as one of 500 Songs that Shaped Rock and Roll. Music television network VH1 ranked the song number 38 on the "100 Greatest Songs of the 80s" countdown in its series The Greatest. In 2004, Mojo placed the song at number 63 on its list of the "100 Epic Rock Tracks".  In 2007, the Roots covered "Pride" in a medley with "Sunday Bloody Sunday" for an NAACP dinner honoring Bono. The band also mixed in some of their own "False Media" and bits of Edwin Starr's "War."
Question: How high did the song get on the charts?
Answer:
Music television network VH1 ranked the song number 38 on the "100 Greatest Songs of the 80s"