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My name is Lilly Campbell. When I got laid off in 2008 from a small TV Production company I decided I wanted to start my own Photography Business. Four years later,I own and operate my own Photography business, Lilly Fuentes-Joy Photography. My services include: Alternative Modeling Portfolios( Gothic, Cyber Gothic, Gore), Boudoir Photography, Weddings, Pin Up, Pets, Children Portraits and Photojournalism much much more. I was the gothic kid a long time ago who wore a lot of black and had unique hair. Now at 40 I still
love the gothic gene Beside Photography Dachshund Enthusia mom, huge music fa traveling and road tr ily and friends.
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"I go by the name Frisco Dollie. I am assuming by my name you might of figured. I am a SF Native. I grew up loving cars, motorcycles, guns, tattoos, drag racing, and writing poetry. One day I was getting tattooed and my tattooist Sky Winchester tells me,"you know what? You really got a different look than most girls. You should think about modeling. " I just laughed it off and went on with my tattoo. Well long story
short i became a m all genres. I can p thing from Classic Gothic and everyt tween. Its like an a dress up. I love be by my hair and ma Desiree Trevino a tographer Lilly Fue ( Lilly Campbell). T make me feel rad! lastly like to say th everyone who has supportive of me. friends and most o
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UnderGround Monster Carnival March 2011— Trista Lou Halloween came early this year in March for some lucky Ghouls and Boys. The Underground Monster Carnival was a blast and there was so much to see and do there. Of course Darkfaery Subculture was there along with me and my Pocket Full of Posies Merch, but there were so many more great booths as well. Count Gregor was the guest of honor and had a lot of photo opps with his adoring fans. Other guests that graced us with their presence were, Adele Wolf, Felix Matos, Dennis
McDonald, Craig Scott Lamb, Travis "Mudd" Miller, and so many more. It was almost overwhelming, but a good overwhelming. Even Merch booths were great. Everyone walked out buying something if not multiple somethings. Prizes were awarded pretty much every hour and were really simple and easy to win. One that I found fun was patrons simply just had to run and get it. The crowd kind of stalled to figure out if it was real of not then ran. I
even got brave to give away some signed copies of the magazine. Although in kind sight I should come up with trivia questions before going up. This was a great success for Art Sunday and we look forward to Sponsoring many more of his conventions and events.
Brian Lee Dunning Interview By Trista Lou
like - man! this is cool! So I started seeking out other rockabilly guys with that sound. It just really speaks to me like no other music does.
TL- What song is your favorite In Oklahoma it seems that we to perform? don't have much to listen to but BL- As far as a favorite song to regular old Country, But if you perform it just depends on the look in the right places you can crowd. Its fun to do a find one great slower Elvis song if its Rockabilly artist, a crowd of older wild Brian Lee Dunladies! If its a biker ning. Awhile back bar or a punk hangout I got to do an in- the faster hard rockin terview with this stuff is fun. I really great man and I like doing the straight do hope that you forward rockers best enjoy it. of all I guess. TL- What happened to the Poison Okies? BL- The Poison Okies had been through several different lineups as people moved away or wanted to do different things and by the end it was just time to park it; no hard feelings on anyone - it was just time. I was really happy that we were able to do an original Poison Okies reunion show before Derek Dugger passed away. We all knew it would be the last time TL- What inspired you to take together and everyone just on the Rockabilly sound of the played great even though we 1950's? hadn't all played together in BL- Well, as I said I always several years; it was like we liked Elvis, and was also raised had never stopped! It was realon my grandparents records of ly great! Bob Wills and Hank Thompson. Then when I was about 12 TL- What brought you and the I heard Carl Perkins and I was TristaLou- When did you start playing? Brian Lee- I have always had an Elvis fix' and started singing for the other kids when I was in grade school. As a teenager I worked at Molly Murphy's as Elvis and my job was to just walk around and sing to people in Elvis character and lead the dances and stuff.
Trio together? BL- It had started out as J.D. Mcpherson , Johnny Carlton and I - We were going to do a Johnny Burnette Rock -n-Roll trio cover band. J.D. thinks that I sound a lot vocally like Johnny Burnette . It just happened that J.D. was in school and starting a family and Johnny didn't really have the time to put into it as well, so Kyle Hawkins came in on doghouse bass and Derek Dugger came back to drum and we had several different guitar players to play as they were available. J.D. played some for me, as well as Bart Weildburg from Nashville and T.J. Mayes played also. But as of the last several years T.J. and Kyle have been the main guys and Mike Steed from Tulsa has been playing the out of town gigs and Jeff Vinson of OKC has been doing the in town stuff as drummers. Its a really fun band and is a real privilege to get to work with such great
musicians ......as I am musically illiterate. So that's how it became Brian Lee Dunning and the Rock- n -Roll Trio.
performance that you have given? BL- We have had some really fun ones - one that stands out was a couple of weeks ago...... TL- What would you say each we played a party in Kansas of the members bring to the and the people there had built a band? dirt track the size of a football BLfield behind their house and Well, during our breaks they were Kyle is racing these 3 and 4 hundred really dollar junky cars and running solid into trees and each other -and and has the one I was driving caught a really fire and burnt completely to the good ground! No one gave a damn! ear, he They just watched it burn! We recog- have played to some pretty dinizes verse crowds. We've played the keys and clubhouse for a outlaw biker arrange- gang, then weve played for the ments fraternal order of police club! really As well as bars, casinos, festiwell. vals, car shows, Elvis tribute T.J. is a great 50s style/ shows, have gotten to back rockabilly guitar player - he Wanda Jackson and Charlie has the style and sound in his Gracie, and even played Las playing that I really like; he's Vegas very Scotty Moore sounding Motorand has a great tone! He is also a really good singer with a very unique voice. He doesn't sing a whole lot in this band, I think he just prefers to play - but it is always a treat to hear him! He looks pretty good too, so the speedway. No fires there gals like that! And as for Jeff though! Vinson - he has a great swing style of drumming and meshes TL- Did you expect to become with Kyle's bass playing very one of the greatest Rockabilly well! Plus we all get along! acts in Oklahoma? BL- I don't think I'm one of the TL- Do you have a favorite greatest, but thank you for the
kind compliment. I mean especially when there are folks here like Wanda Jackson, J.D Mcpherson, Brian Parton and other folks from here like The Collins Kids, Wesley Reynolds and a few others... Now I would like to ask you some of your thoughts on the Rockabilly lifestyle itself. TL- When someone doesn't really get what Rockabilly is, how do you explain it to them? BL- I tell them its a subculture. And its what's cool to me. It never really concerned me if they got it or not! TL- Other than music what is your favorite thing or things about the Rockabilly lifestyle? BL- Its just basically fun! I love working on and driving my old cars, I don't have a modern car. I like everything about the lifestyle, mainly its just cool! I like how old men give ya the thumbs up for your hair or the cuffs in your jeans, or how old women say "you remind me of so n so in school - he was the bad boy with the hotrod!" I like that its still to this day considered edgy! Rockabilly was the punk rock of the 50s and its never lost that attitude. Baditude babay!
The DIRTY ROTTEN IMBECILES' history begins on May 2, 1982 around 4:00pm, in the city of Houston,TX. It was on this day that the musically aggressive quartet we now know as D.R.I. made their first Dirty Rotten noise and called it a song. Back then it was Spike Cassidy (guitar), Kurt Brecht (vocals), Eric Brecht (drums), and Dennis Johnson (bass). The group started practicing at Kurt and Eric's parents home, where the brothers lived amongst the "Madman" (their father). They practiced a few nights a week around 5:00pm, just as the Madman would be on his way home from a hard day at work. He would open his front door only to be blasted with 120db of the band's horrendous attempt to make music. The Madman would then pound on their jam room door until he was let in so that in turn, he could throw them out of his house calling them such things as "... you bunch of dirty rotten imbeciles". This is how D.R.I. got their name. 2 months later, on July 2,1982, the band played their first show at Joe Star's OMNI, in Houston. On November 6th & 7th of 1982 D.R.I. recorded their first release, the Dirty Rotten EP, stuffing 22 songs into 18 minutes on a 7" EP that played at 33 rpm's. Only 1000 copies of this EP version were pressed, making it now a very rare collector's item. Demand caused this EP to be pressed into a 12" LP ver-
sion, released in 1983, appropriately called Dirty Rotten LP. Leaving the underground music scene thriving for more, DRLP became a major success and also an inspiration for many new bands at the time. Soon after D.R.I. was labeled the fastest band in the world. In 1983 D.R.I. moved to San Francisco, where they lived in their van and ate at soup kitchens in between gigs. Dennis Johnson quit the band and returned home to Texas. He was replaced with Sebastion Amok, and within a few months D.R.I. found themselves on the "Rock Against Reagan" tour with the Dead Kennedy's. At the conclusion of this tour, they replaced Sebastion Amok with Josh Pappe`. Their next release was the 4 song, 7", Violent Pacification EP, in 1984. After touring in the summer of 1984, Eric Brecht got married and left the band. He was replaced with Felix Griffin. D.R.I.'s second full length release, Dealing With It , came in March 1985. The group toured extensively in support of the album. Sometime during the recording of the album, Josh took a leave from the band. Mikey Offender (bass player of the Offenders) was asked to play for the album, although Spike played bass on the songs that Mikey didn't have time to learn. The songs on DWI pointed slightly towards a metal direction, but still remained very hard-
core. Almost legendary is the band's recording of "Madman", where Kurt's dad is mad and disturbs a rehearsal. The band gains a real cult status, supported by such fans as Dave Lombardo (Slayer), who tells everyone he's influenced by D.R.I. On April 26th, 1986, they recorded their show at the Olympic Auditorium in Los Angeles, and released the video, which was entitled Live At The Olympic. Their third album, Crossover, released in 1987, was perfectly named since the songs on this album had a strong metal sound to them. As the band began to "crossover" to thrash, their songs became longer, slower, and more complex. The press has called D.R.I. the major band of the "crossover" movement, a style that combined punk, hardcore, and metal. This music invited a mixed audience of punks, skinheads, and metal fans to their shows, who introduced things like stage diving and slam dancing. The 'Live at the Ritz' video was recorded next, on June 27th 1987, at 'the Ritz' in New York, during the band's worldwide Crossover tour. Also in 1987, one of their songs, 'Snap' appeared on a compilation (with other bands supporting some cause) entitled P.E.A.C.E. In February of 1988, the Dirty Rotten Imbeciles returned to the studio to record Four Of A Kind. The songs on this album have even more of a metal sound to them, and production is the best it's ever been. They even released a music video for the song 'Suit and Tie Guy'. At the same time, the Dirty Rotten LP was remixed to include the songs from the Violent Pacification EP, and was re-released. The band toured Europe again to support the Four of A Kind album, then once home in the U.S., Josh Pappe` leaves the band because of an
offer to play for Gang Green. He is replaced by John Menor. September 1989 brought the release of Thrash Zone. Two music videos were released from this album. One for 'Beneath the Wheel' and the other for 'Abduction'. Sometime after this, Felix Griffin leaves the group and is replaced by Rob Rampy. During the spring of 1992, Definition was released on Spike Cassidy's own label, Rotten Records. A music video was released for the song 'Acid Rain', and later was even featured in an episode of MTV's "Beavis and Butthead". D.R.I. toured in 1992, opening for Testament, as well as headlining their own shows. They recorded their gig at the Hollywood Palladium on November 27th, 1992, and it was released in 1994 as their first live album, appropriately entitled Live. It was, more or less, "released as a stepping stone between Definition and Full Speed Ahead". Soon after recording the show, John Menor leaves D.R.I. He is replaced by one of the band's long time friends and roadie, Chumly Porter. The group also took part in the Lolitabazooka Tour, headlining that tour, in the fall of 1994. In 1995, D.R.I. released their newest album called Full Speed Ahead. They also made another music video, this time for a song called 'Syringes in the Sandbox'. In January of 1996, they started touring North America with Acid Bath opening for them. But in April, Rob and Spike ran into some
trouble trying to cross the Canadian border because they had both been previously charged with 'Driving Under the Influence' in the U.S. Needless to say, all of their Canadian dates had to be cancelled. And as much as they tour even today, I still don't think Canada will let them in! During 1997-98 D.R.I. continued to tour the world extensively, including European & S.American dates. In March of 1998 D.R.I. launched their own Official Web site (www.DirtyRottenImbeciles.com).
During 1999, D.R.I. appears as one of the headlining bands on the Social Chaos in North America Tour. One of their songs, 'I'm the Liar', is used for a Social Chaos Tour compilation cd, containing one song from each band that appeared on the tour. During August of 1999, in the middle of the Social Chaos Tour, Chumly leaves the band because he is burnt out on touring, and is replaced by Harald Oimoen. Harald had been working on and off with the band for years, doing everything from photography and merchandise to Bass Tech. The band resumed the tour,
only missing 2 shows replacing Chumly. In the year 2000, D.R.I. Founder/Guitarist, Spike Cassidy, loses Rotten Records to D.R.I. Manager, Ron Peterson in a partnership backstabbing, and a long court battle is sure to commence. D.R.I. fired manager Ron Peterson, took its catalog of CD's, and left Rotten Records in search of a new record label. The band is said to be entertaining a few good offers. The year also saw the Dirty Rotten Imbeciles headlining their own 'Millennium 2000 Tour' which had been broken into two halves, taking place in the spring & fall of 2000. D.R.I. is scheduled to embark once again on the "Old School Tour" in the spring of 2001! For the past 19 years, D.R.I. has been the epitome of the aggressive, hardcore-punk thrash sound that we've all become accustomed to hearing. Throughout this time, they've been one of the few genuine underground bands to remain true to their pure punk roots. Still actively touring and recording, the only thing that may have changed is that they're a little older now, but time hasn't gotten the best of the Dirty Rotten Imbeciles. They're still thrashing just as hard, and just as loud as ever, continuing to overload our senses with the sound that is, and will always remain, uniquely D.R.I.
mention their excursions into the visual realm of film and promo - the Cradle Of Filth sound showed itself to be a manyThese are heady days for those of us headed creature. It was one that took who wear our devotion to metal like a delight in confounding both the purists badge of honour. The deafening beast of and the critics who continually assailed the dark depths has lived to roar and the band's motives and creativity even as rampage again and the scene has never their fan base expanded and their status been in a happier or healthier state. But soared. With a line-up that seemed to be don't be deceived. Metal never really constantly changing - thanks, perhaps, to went away. In fact, its current fortitude the cobweb-encrusted revolving door stems entirely from the bands that never that rumours suggest marked the ensurrendered those brave, liquor-soaked trance to the band's rehearsal space durmen whose total disregard for the vagar- ing this period - the music was never ies of fashion and finance kept them allowed to stagnate fresh blood and its glued to the grindstone through metal's revitalising effects remained a permamainstream wilderness years. Now, as nent weapon in the boys' macabre arseseems wholly fitting, the greatest of the- nal... And so to 2009, where Cradle Of se are finally reaping their rewards and Filth find themselves in the enviable hitting new creative peaks as they surge position of being in a league and class of unstoppably onwards and upwards. And, their own. Having long since outstripped as it was in the beginning, so shall it be the achievements of their one-time conin 2008.... Just as the gravel-lined, turd- temporaries, the band is now firmly enstained streets of urban England gave trenched in a rich vein of form. The curheavy metal rent line-up of Dani to the world Filth, guitarists Paul back in the Allender and Charles late '60s, so Hedger, bassist Dave that small Pybus, Rosie country with Smith ..boards, female the big voice vocals Sarah Jezebel continues to Deva and drummer be the place Martin Skaroupka is where the the most solid and world's finest powerful in the band's dark metal career and Godspeed i band rest their weary, alcohol-ravaged Louder, harder, faster, heavier, darker, heads after another sonic killing spree. catchier - the unstoppable force that is Throughout the '90s, Cradle of Filth - led Cradle Of Filth slithers menacingly forby vocalist, lyricist and crypt-crawling ward, crushing the opposition and strikmaster of ceremonies Dani Filth - beaing warped, blackened glee into the vered tirelessly away, producing a series hearts of misanthropes and malevolents of peerless extreme metal classics that the world over..... drew from an endless, dizzying array of inspirations and influences while always http://www.cradleoffilth.com/ maintaining that instantly recognisable http://www.roadrun.com/artists/ heart of filthy darkness. The brutal and cradleoffilth/ brief Vempire mini-album and the lustrous, lascivious Dusk & Her Embrace (both 1996) began to reveal the band's great sonic range. Later taking into account the slithering concept piece Cruelty & The Beast (1998) and the Clive Barker-inspired Midian (2000) - not to
Cradle Of Filth
AFI Davey Havok - vocals Jade Puget - guitar Hunter - bass Adam Carson - drums "I flee to decemberunderground. As you exhale, I breathe in the water underground and I'll grow pale without you""The Interview," AFI "DECEMBERUNDERGROUND is a time and a place. It is where the cold can huddle together in darkness and isolation. It is a community of those detached and disillusioned who flee to love, like winter, in the recesses below the rest of the world."-Davey Havok DECEMBERUNDERGROUND is also the title of AFI's seventh album. And like much of the record's lyrical and visual imagery, it seems to stand in stark contrast to the name behind the band's world-renowned moniker: A Fire Inside. Then again, the brightest flames burn white-they just don't burn bright for long� The documented origins of AFI stretch back to 1991 when Ukiah, California, teens Davey Havok and Adam Carson formed the band and released a debut split 7" the following year with fellow Ukiah High students Loose Change (whose lineup at the time featured future AFI guitarist Jade Puget) titled� um� Dork (hey, they were in high school). A handful of singles, EPs, compilation tracks and the early albums Answer That and Stay Fashionable (Wingnut, 1995) and Very Proud of Ya (Nitro, 1996) followed in that youthfully exuberant, sometime sophomoric East bay hardcore/punk mode, as early incarnations of AFI hit the road and began to cultivate a worldwide following. The earliest hints of AFI's move in a more diverse, mature direction appeared on their third album and first to feature current bassist Hunter (ex-the Force), Shut Your Mouth and Open Your Eyes (Nitro, 1997) and the subsequent A Fire Inside EP (Adeline, 1998). It would be one more year, however, before the present AFI lineup would click with the addition of Jade Puget (ex-Redemption 87) and the release of fourth album Black Sails in the
Sunset and the All Hallows EP (both Nitro, 1999). Another year later, The Art of Drowning (Nitro, 2000) would find that AFI signature sound received by a rabid audience by then numbering in the hundreds of thousands. Yet more new AFI disciples would come into the fold as that record's "Days of the Phoenix" somehow found its way onto modern rock radio playlists. AFI would make the decision to brave major label waters soon thereafter, releasing sixth album Sing the Sorrow on Dreamworks in 2003. Another ambitious leap forward for the Ukiah foursome, Sing the Sorrow was co-produced by Jerry Finn (Green Day, Blink 182) and Butch Vig (Nirvana, Smashing Pumpkins), and expanded the AFI palette in all directions: "Girl's Not Grey" would be the band's single most infectious "pop" moment to date, while "Death of Seasons" incorporated lockstep industrial rhythms and mournful choruses before dissolving into a cacophony of screaming anguish. Elsewhere on the record, "The Leaving Song Pt. II" and "Dancing Through Sunday" showed that the familiar AFI chantalong choruses were as fierce and frantic as ever, even if they were couched in increasingly virtuosic musicianship. As with AFI's previous forward strides, their fans made the leap of faith with themand then some. Sing the Sorrow sold over one million copies U.S. and the bands burgeoning live draw continued to grow exponentially. Sing the Sorrow's success would also provide AFI its first truly mainstream recognition, in the form of the 2003 MTV2 Viewers Choice Award, as well as best of 2003 accolades from the NEW YORK TIMES, GUITAR WORLD, SPIN, ALTERNATIVE PRESS, REVOLVER and USA TODAY, which named "Girl's Not Grey" one of the top singles of 2003. "I was completely in awe then and still am now," says Hunter. "It all seemed to have come naturally from our efforts and honestly that's really hard for me to comprehend." As the members of AFI readily acknowledge, their atypical success story owes no small debt to possibly the most passionate and unlikeliest assem-
blage of fans to coalesce around any artist: The Despair Faction. "They're not really a fan club per se," says Jade. "The Despair Faction was conceived to be more interactive than that, to have more of a direct connection with us and with each other." As such, in addition to more conventional fan club perks such as exclusive merch and ticket presales, DF members regularly attend AFI's soundchecks, where they come bearing gifts ranging from vegan baked goods for Davey and Hunter to homemade AFI merchandise, clothing, artwork and other keepsakes. Now with the new DECEMBERUNDERGROUND, AFI invite The Despair Faction and other fans new and old (and yet to be made) to experience their most accomplished and labor-intensive work to date. The product of some two years worth of painstaking songcraft and performance, DECEMBERUNDERGROUND finds producer Jerry Finn returning to provide an evolutionary continuity between Sing the Sorrow and the new record. With their team in place, AFI set about the process of writing and perfecting DECEMBERUNDERGROUND. "There's a lot more attention to detail on this record," Jade recalls. "We spent a long time writing it. We refused to rush ourselves. We took our time not just on every song but on each guitar part, each vocal, each bass line. We definitely didn't rush into the studio." "Plus we had such a huge amount of material written," Adam adds. "Condensing that sheer volume and magnitude down to an album's worth of songs was very difficult. We could have made five different records." The fruit of this labor is a record that Davey Havok is confident "should break us out of any preconceived genres." And even on a cursory listen, the wealth and diversity
of material backs him up from the first note: "Prelude 12/21" is a rhythm/vocaloriented curveball that differs radically from the customary calls to arms that have opened all AFI albums since Black Sails. From there, DECEMBERUNDERGROUND veers from AFI's first straight-up vintage glam style shuffle on first single "Miss Murder" (complete with backing chants from The Despair Faction) to the stark and stunning soundscape of "Love Like Winter" and the epic suite "The Interview." The longtime AFI faithful need not worry, as DECEMBERUNDERGROUND features more than a fair share of familiar AFI hallmarks, from the slash and burn of "Kill Caustic" and "Affliction" to the balladic finale' "Endlessly, She Said." Of AFI fans' reaction to the new record, Davey says, "Our fans always come with us every step of the way. I think they recognize honesty in our music, that this is the only way we can express ourselves, to make music that we love. Nothing else. That's what allowed us to make the jump way back when and what continues to keep us going now." "Some artists fear change and their fans' reaction to it," Jade says. "A big part of our relationship with our fans is that we do change with every record. It's expected and embraced." "That's true," Davey agrees. "Our fans would probably be devastated if we ever released a record that was too similar to the previous one." "Whenever we start covering territory we've covered before," Adam adds, "we just get bored." Jade condludes: "As long as you make the record you want, sales don't matter. We have our music and our fans. Everything else is subject to the whims of the marketplace." http://www.afireinside.net/ http://www.myspace.com/afi