IN: 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."
QUESTION: Who are some women DJs?
IN: Caray was born Harry Christopher Carabina to an Italian father and Romanian mother in St. Louis. He was an infant when his father died. His mother remarried with a French-American, but after her death when Caray was eight, he went to live with his aunt Doxie at 1909 LaSalle Street in a tough, working-class section of St. Louis. As a young man, Caray played baseball at the semi-pro level for a short time before auditioning for a radio job at the age of 19.

At his funeral, the organ played "Take Me Out to the Ball Game." Harry Caray's body is interred in All Saints Cemetery in Des Plaines, Illinois.  Following his death, during the entire 1998 season the Cubs wore a patch on the sleeves of their uniforms depicting a caricature of Caray. Cubs slugger Sammy Sosa dedicated each of his 66 home runs that season to Caray.  Caray had five children, three with his first wife, Dorothy, and two with his second wife, Marian. He married his third wife Delores "Dutchie" (Goldmann) on May 19, 1975. His son Skip Caray followed him into the booth as a baseball broadcaster with the Atlanta Braves until his death on August 3, 2008. Caray's broadcasting legacy was extended to a third generation, as his grandson Chip Caray replaced Harry as the Cubs' play-by-play announcer from 1998 to 2004. Chip later returned to work with his father Skip on Atlanta Braves broadcasts, where he had worked for a while in the early 1990s.  In what Harry Caray said was one of his proudest moments, he worked some innings in the same broadcast booth with his son and grandson, during a Cubs/Braves game on May 13, 1991. On-air in a professional setting, the younger men would refer to their seniors by their first names. During 1998, Chip would refer to the departed Harry in third person as "Granddad".  When the Cubs defeated the Cleveland Indians in seven games to win the 2016 World Series, Budweiser produced a celebratory commercial entitled "Harry Caray's Last Call" featuring Caray's call of the game using archived footage.
QUESTION:
What were the names of his children?