Discography R Kelly
Maria Mauri
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Objectives: To report the prevalence of cervical pathology over an entire series of patients, to determine whether a reproducible pattern of concordant pain could be associated with each symptomatic level identified, and to calculate the rate of complications.
Summary of background data: Cloward wrote the first articles explaining the technique of cervical discography and reported on the pain responses induced. Currently, the technique is viewed as an invaluable diagnostic tool, but it also is criticized for failing to contribute unique information beyond that available from imaging studies despite the inherent risks.
Methods: A series of 173 cervical discograms performed over 12 years was examined. Pain responses provoked and recorded during discography were grouped by disc level and examined for recurring patterns. The prevalence of disc pathology was calculated.
Results: In all, 807 discs were injected, and 404 concordant pain responses (50%) were elicited. Three or more abnormal disc levels were identified in more than half of the patients. Complications developed in four patients (2.3%). No further complications were reported. Surgical treatment was indicated as viable in only 35 studies.
Conclusions: Discography is a safe and valuable diagnostic procedure showing characteristic pain patterns that may have clinical significance. In more than half of the studies, three or more levels were identified as pain generators, suggesting that treatment decisions based on information from fewer discs injected during discography may be tenuous.
The discography of American rapper, singer, and actor Machine Gun Kelly consists of six studio albums, three extended plays, eight mixtapes, 42 singles (including 14 as a featured artist and six promotional singles), and 63 music videos.
In the '90s, 97a was writing and recording new straight edge hardcore during a time when many other bands in the States had abandoned the sound and spirit. Based in New Jersey, 97a was lead by vocalist Chris Kelly, a devout fan of hardcore who also ran Teamwork Records, a label that issued releases by Carry On, Time Flies, and Atari, to name a few bands. Though they broke up in 2001, 97a remains popular among hardcore collectors who seek out the band's limited discography.
My Dad's life was cut short when my Mom's car was hit by a careless driver at age 5. My Mom and I walked away with minor injuries, but my Dad didn't make it. Needless to say that has fucked with my head for many, many years. Not sure if I'm ever going to get past it, but I keep trying.
After my Dad died, my grandmother moved in with us. I was basically raised by my Mom and grandmother, and they tried their best to give me a good life. They really tried. School was another story. I was picked on, bullied, whatever you want to call it these days, I got a lot of it. Kids used to make fun of me for not having a Dad, wearing glasses, you name it! They said horrible things, started fights with me, etc.
After school, I would ride my BMX bike all over town. In inclement weather or after dinner, I would hang out in the cellar and listen to music on my little transistor AM/FM radio. To this day, I find the radio very comforting. I like the randomness of not knowing what the next song might be. It's probably the reason why I went to college for communication technology. By 7th or 8th grade, I started pushing back and standing up for myself. I was also making a ton of prank calls. I was the king of prank calls, I wish I had the tapes! Eventually, BMX led to skateboarding, which led to hardcore.
I hate KISS [laughs].That being said, the first record I ever bought was The Knack's "My Sharona" 45. I really wanted to buy a Ramones record, but I didn't think my Mom would approve of their image even though I was groovin' to "Rockaway Beach" on AM radio everyday. Blondie records soon followed, and eventually I did get some of those Ramones records! I dug the Beatles for a while, but really can't listen to much of their stuff anymore. First heavy band, though? Black Sabbath. I still love Black Sabbath. What actually got me to play music I couldn't tell you.
I love baseball and played Little League for a few years. I played right field and first base. I tried out for the high school team my freshman year, and my coaches wanted me to pitch. I was having no part of that and told them I wanted to have a position where I would play everyday. So, then they wanted me to catch. eah, here's a 14-year-old who is already nearing 6' tall and you want me to squat under kids that are barely 5'6" swinging wildly at the ball...I don't think so! Looking back, I think the coaches thought my arm was pretty good and wanted to put it to use, but I was young and angry. I didn't like listening to anyone back then, so I quit.
I also played intramural hockey in high school as a goalie. I was actually pretty good, believe it or not. I would let the puck hit me in the face long as it didn't get behind me. I would have been a goalie in college, if it wasn't for the fact that I had to provide my own pads ($3,000+) and ice time was at 2 am on Tuesday nights! Looking back, I wish I did it, but I just didn't have the money. Story of my life.
My interest in hockey came during the 1980 Winter Olympics. I was hospitalized with some sort of unknown virus that kind of paralyzed my legs and was brought to the hospital. There wasn't much to do in there, so I started watching the Lake Placid Olympics religiously. Bobsledding, skiing, the luge, and of course, hockey. After a couple of days, they let me out, but the doctor didn't want me to go back to school for two weeks until the infection was totally gone.
That meant I was allowed to stay home and stay up and watch every single Olympic hockey game, no matter what time it was. And I did. We all know what happened that year (and hasn't happened since). My Mom and grandmother actually missed going to church that Sunday to watch the gold medal game with me. When the Olympics were over, I started following the NHL and since Ken Morrow was the only Olympic player to sign on with a local team, I started rooting for the Islanders. Wearing the orange and blue didn't hurt either. The Devils were still in Colorado at this point, by the way.
I got all my early hardcore records from a place called Looney Tunes in Wayne, NJ. It's still there, but has since changed names and owners. Back in the '80s, it was owned by one of the guys in Dramarama and it was just awesome. You'd go in there with your list of stuff you read about in Thrasher and next week and it was on the rack! I bought so many good records there: The FU's, The Faction, Agent Orange, SSD, Skate Rock comps, JFA, you name it! They also always had great new wave and punk imports.
A few years later, Flipside Records in Pompton Lakes, NJ started getting hip to bringing in hardcore, and I got a few records there. Same guy has been running the place for over 30 years (the store itself has been there for 50+ years), and I still stop in to say hello, but don't find much anymore.
Eventually, I was trekking into NYC for Venus (when it was still upstairs on 8th) and a couple other places. Bleeker Bob was always kind of a jerk from what I remember, and his prices were high. The only record I ever remember getting there was Start Today.
OK, I started Teamwork Records because Tony Rettman had been given the reels to an unreleased Breakaway 7" EP, but kinda lost interest/didn't have the money for. However, I thought it should come out. The recording was really clean and felt that if that was my band, I'd be bummed that here's this guy across the country that has our reels, and couldn't do anything about it. I mean, you gotta realize, this was a different time and there were no DAT tapes or digital copies, so if you didn't actually possess the reels, you couldn't do anything! Long story short, I told him I'd split everything down the middle so it could come out and that's where the name "Teamwork" came from. I really thought I would always just do split label releases, and the first few were, but eventually I was in a better financial situation and started just putting out the stuff myself. As Brett Beach from In My Blood Records once said, "You're a bit of a control freak." Yes, I am.
That's a good question that I don't I have an answer for. I just kinda took the dice and rolled. I always wanted good-looking covers, quality vinyl, etc. I just wanted to have the highest quality product that could be affordable to make and sell at a fair price. It kinds bums me out to see how expensive vinyl is these days.
Moving forward a year or so, I was setting up a couple of NJ shows for F.Y.P. and I suggested a project band with frontman Todd Congelere (who at the time was also a pro skater) when they came through in 1992 and again in 1993. He loved the name 97a. We agreed to play mostly covers, and the band would be me on vocals, and whomever else we could rope into it. We did it twice and it was a chaotic mess, but also quite fun. The one guy who was supposed to be our guitarist for the second show couldn't make it to the gig on time, so one of the other guys in F.Y.P. filled in. That guy who couldn't make it was none other than Todd A. He was bummed he couldn't do it, so then decided to take it upon himself to find us a drummer. The rest of the history is written on our lyric sheets. When I think about 97a, I think about Todd and I. He was the only one who always stuck it out.
I have no idea. I really think there are only about 150 of those original tapes around. The first 50 or 60 had red construction paper covers, the rest are just cheap pastel copy paper. Copy paper covers also have a [longtime DJ] Pat Duncan (huge Mets fan, by the way) WFMU set after the demo tracks. That demo makes me cringe, honestly.
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