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Hey Guys! I'll be on my my friend Chris Loveday's podcast tonight. Here's the link to watch the show live:

http://www.ipmnation.com/shadows

Damn, wish I could've hit this poll a couple days ago.

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CONCORD, N.C. (AP) — Dick Trickle, a former NASCAR driver whose larger-than-life personality and penchant for fun won him legions of fans despite a lack of success beyond the nation's small tracks, died Thursday of an apparent self-inflicted gunshot wound, authorities said. He was 71.

The Lincoln County Sheriff's Office said authorities received a call believed to be from Trickle, who said "there would be a dead body and it would be his." Authorities tried to call the number back, but no one answered.

Trickle's body was found near his pickup truck at Forest Lawn Cemetery in Boger City, N.C., about 40 miles northwest of Charlotte. Sheriff's Lieutenant Tim Johnson said foul play was not suspected.

"Our thoughts and prayers go out to the family and friends of Dick Trickle on his passing today," said NASCAR Chairman and CEO Brian France. "Dick was a legend in the short-track racing community, particularly in his home state of Wisconsin, and he was a true fan favorite. Personalities like Dick Trickle helped shape our sport. He will be missed."

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Horror film posters have provide viewers with some of the most iconic images of the genre to date and, over the years, many have become collectible art pieces in their own right. But since the earliest entries in the Universal horror cycle, the primary purpose of the film poster has been to sell a film to the public. Herein lies the paradox of the film poster: marketing for the sake of selling versus marketing material as art. While a new insurgence of contemporary artists are renegotiating the purpose of the film poster with reimagined artwork for special screenings and festivals, moviegoers are always kept in mind during the poster’s creation, suggesting a greater connection between audience and poster than between poster and film. Through an examination of poster art from some of horror’s most revered, and not so revered films, a more complete portrait of horror, madness, and violence is born, one that is inextricably linked to the rise and fall of the Hollywood star system, the dissolution of the Hays Code in the late 1960s, and the rise of the Hollywood independent filmmakers of the 1970s and ’80s.

Films and posters to be discussed include early works like Frankenstein, Cat People, and Psycho to later offerings such as Kingdom of the Spiders, Don’t Go in the Woods Alone, Carrie, and Maniac. Posters for horror films from contemporary artists such as Ken Taylor, Jason Edmiston, Olly Moss, Gary Pullin, Justin Erickson, and Daniel Danger will be discussed, alongside the film’s original key art and its international counterparts.

May 16, 2013 at 8pm
Big Picture, 1035 Gerrard Steet East, Toronto
Cost: $15 at the door

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