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Zika Ascher

Zika Ascher (3 April 1910 – 5 September 1992) was a Czech artist and designer who became pre-eminent in the related fields of British textiles, art, and fashion. He created his own textile company, which made its name with experimental fabrics and scarves designed by famous contemporary artists.

Ascher was born in Prague, where he was a skiing champion. In 1939 he married his wife Lida, and moved to England when Czechoslovakia was annexed by Germany classic replica football shirts. In 1942, Zika and Lida Ascher set up their own textile company, Ascher (London) Ltd.

A substantial number of Ascher textiles designed by the British artist Henry Moore are held in the V&A collection. The designs were commissioned by Zika Ascher from 1944 to 1946. The first collection of Henry Moore textiles printed by Ascher was introduced at the Dorchester Hotel in London in May 1945. The Henry Moore Foundation published a book by Anita Feldman and Sue Pritchard in 2009, entitled Henry Moore Textiles, which contains extensive references and examples of Ascher textiles designed by Henry Moore. The book was published to coincide with an exhibition at the Henry Moore Foundation in 2008, which later went on tour. The book was published by Lund Humphries, a leading publisher on British Art.

There have been only four instances of production of the Henry Moore textiles and scarves by the Aschers in the 65 years since they were designed: The first was in the late 1980s when Zika Ascher printed two designs for wall panels which had not previously been printed. The second was when the Henry Moore Foundation asked the Aschers to reprint various curtain textiles that had faded over time at the artist’s house at Perry Green. The third was a reprint of Moore scarves for the gift shop at Tate Modern, when they mounted a major retrospective of the artist’s work in 2010. The fourth was as part of the first scarf collection by Sam Ascher, grandson of Zika Ascher, for Spring/Summer 2011, in which some archive designs by Moore, Graham Sutherland, and other artists were featured.

Zika Ascher’s significant influence on the collections of major couturiers, such as Christian Dior, Cristóbal Balenciaga and Yves Saint Laurent, is cited in The Vogue History of Twentieth-Century Fashion by Jane Mulvagh (London: Viking Penguin, 1988). Christian Dior referred to Ascher as “Mr Rose Pompom” after Ascher designed a beautiful rose-printed fabric in the 1950s, and used it extensively in the summer Haute Couture collection by Dior. Apollo magazine London published a six-page monograph on Ascher in 1987. His work was displayed at the first major retrospective of Balenciaga’s work at the Silk Museum in Lyons 1986. One of the first John Galliano collections, “Les Incroyables”, featured many yards of Ascher’s cream cheesecloth, drenched in water.

An obituary in The Independent in 1992 credits Ascher with not only being the first to supply shaggy mohairs but also with introducing cheesecloths and romantic lacy fabrics to the catwalks of the late 1950s and mid-’60s.

What was then known as The Ascher Project, to create innovative textiles based on contemporary art, ran in tandem with the Ministry of Information’s propaganda initiative, to introduce modern art to the “man on the street”. The War Pictures at the National Gallery in 1944 included paintings by Henry Moore, and there is footage of Zika Ascher trawling the National Gallery rooms, inspecting Moore’s work. It was not long before Ascher had Moore designing scarves, curtain fabrics and dress fabrics, creating a vibrant new design language that was to be accessible to all.

In 1946 Ascher went to Paris and, using a telephone in the Cafe du Rond Point des Champs-Élysées, called Pablo Picasso, Henri Matisse and André Derain[citation needed]. “Every one of them invited Zika Ascher to meet them” Paul Frank Long T-shirts, wrote Lucy Davies in the Sunday Telegraph (Stella Magazine, November 2010). Eventually, 51 leading French and English artists designed scarves for Ascher[citation needed]. They were called “Artists’ Squares” and, often printed on rayon because of shortages of other material immediately following the war. The artists were commissioned between 1946 and 1955; most contributed only one scarf design, but others, for instance Cecil Beaton, designed up to four. They were all printed in limited editions and continue to crop up in fine art auctions[citation needed].

Zika Ascher was responsible for introducing hand-tufted mohair fabrics into haute couture in 1957[citation needed]. At the time, textile houses such as Ascher would present biannual collections of fabrics to the couturiers, who would then choose their fabrics from what was on offer[citation needed]. The first to use Ascher Mohair was Antonio del Castillo ,for the French fashion house Lanvin-Castillo’s Autumn-Winter collection that year. Ascher’s hand-tufted mohair fabrics continued to be much in demand for several years[citation needed], and were featured for instance in the Balenciaga Autumn–Winter collection of 1964. A coat designed by Cristóbal Balenciaga made with an Ascher green, red and pink hand-tufted mohair fabric was featured on the cover of French Vogue in November 1964, eight years after the first Ascher mohair.

In 1969 Ascher experimented with a “disposable” paper fabric, which had to be made resilient enough not to tear. He commissioned Celia Birtwell and put her Happy Bubble design into production — it was made into a famous minidress designed by Ossie Clark[citation needed]. A photograph on page 96 of the V&A Museum book Ascher: Fabric, Art, Fashion shows a crêpe de Chine fabric design by Lucian Freud. He and other great artists at the time put their trust in the quality of the Ascher printing and colour matching[citation needed]. “Artists commissioned by Zika Ascher were fortunate to have their work sensitively interpreted and skilfully put into repeat…Zika Ascher was insistent upon top quality printing and accurate colour matching; trials continued until design and printed fabric tallied exactly.” (Valerie D. Mendes and Frances M. Hinchcliffe)

A 264-page book about the work of Ascher and his wife Lida, by Valerie D. Mendes and Frances M. Hinchcliffe, in collaboration with Lida Ascher, was published by the Victoria and Albert Museum (V&A) in London, to coincide with a 1987 retrospective exhibition of the Aschers’ work. The title Ascher: Fabric, Art, Fashion, describes the breadth of their achievements in these three related fields. Three photographic portraits of Zika Ascher are held in the collection at the National Portrait Gallery in London; two by John Gay and a third by Francis Goodman.

Billie Maxwell

Billie Maxwell (1906–1954) was the first woman recorded in country music, and the first recorded musician from Arizona. She played guitar with The White Mountain Orchestra, and recorded three vocal discs with Victor Records.

She was born in 1906 to Curtis Maxwell, a locally known fiddler. She grew up in Nutrioso Paul Frank Long T-shirts, near Springerville, Arizona. The family worked primarily as ranchers. Her father started a folk group called The White Mountain Orchestra while Billie was a child, and they would perform around the area, often playing at dances. She joined the band as a guitarist in her teens.

She was married in 1929 to A. Chester Warner, a school teacher. She continued playing with the band. Around that time, Ralph Peer was having auditions held around the southwestern U.S. to find new artists for Victor Records. The White Mountain Orchestra was selected from a local audition in June 1929 to travel to El Paso, Texas, to record for him. The band went to El Paso on 2 July 1929 and recorded four songs, including Escudilla Waltz. While Peer was listening to the session, he asked Billie to sing. She recorded five songs singing solo, with guitar and violin. The first song was recorded on July 2, the remainder on July 11. The discs were published with Maxwell identified as Billie Maxwell, the Cow Girl Singer. Her songs spoke honestly of the struggles of poorer women goalkeeper clothing. She continued to perform with the White Mountain Orchestra until the birth of her first child. She had two children, and died at age 48 from cancer.

Maxwell released three discs with two songs each, in 78rpm format.

Disc One:

It was issued 22 November 1929 and sold 3125 copies.

Disc Two:

It sold 2641 copies.

Disc Three:

It sold 1300 copies.

The Cowboy’s Wife was re-released on the Banjo Pickin’ Girls album published by Rounder. Billy Venero was re-released on When I Was A Cowboy, Vol. 2: Early American Songs of the West, Classic Recordings from the 1920s and 30s by Yazoo Records. Her original discs are collector’s items, worth more than $400 in 2011. Her work was featured in the Musical Instrument Museum’s 100 Years of Arizona Music exhibit.

Philippe Jolicoeur

Phil (Philippe) Jolicoeur es un músico canadiense de punk rock, nació en Montreal (Canadá) en 1979, y desde 1995 es guitarrista, y posteriormente vocalista de Reset.

Tiene talento combinando rápidos ritmos de guitarra con voces melódicas. Phil empezó a tocar con la edad de once años practicando canciones compuestas por Dave Mustaine (Megadeth), Mille Petrozza (Kreator), Chuck Schuldiner (Death), Joe Satriani, Steve Vai, y muchos más.. what is meat tenderiser..Phil también es un gran fan de Pennywise.

En 2003 fundó e incorporó su propio sello discográfico Indy Rekordz Inc. con el que realizó, ese mismo año, el tercer álbum de Reset, Radioactive hockey water bottles.

Aparte de trabajar con Reset, Phil colabora con una banda de Thrash metal llamada D Paul Frank Long T-shirts.N.A. en la que toca la guitarra rítmica. Y además, en 2006 realizó un álbum en solitario llamado Speechless, con canciones acústicas muy melódicas.

Aunque se dedica en gran parte a la música, Phil trabaja enseñando kinesiología en College Ahuntsic (Montreal).