Ninth air force service command

From page 17: Like all other commands, the IX Air Force Service Command is made up of people -- people whose jobs began long before the invasion, endured right up to H-hour and beyond. There were glider pilots, engineers, clerks, mechanics, cooks, doctors, truck drivers; in fact, every conceivable job necessary for victory was filled by an expert who was willing to subordinate everything to the goal ahead. Take the transport pilots, for instance. Red-eyed, flying seemingly endless hours, they operated on a two-way schedule that carried everything from gasoline and guns and bombs to blood plasma and sulfa drugs into Normandy, then carried wounded men back to England on knock-down cots which made ambulances of the Douglas Skytrains. And they did this on schedules which sent ten planes across the Channel every hour. The achievements of the IX Air Force Service Command are many and varied-it is virtually impossible to enumerate all of them. Perhaps it would be better simply to say that it is the good right arm of the Ninth Air Force. And when service is wanted by the Ninth, it is the Service Command which provides it as quickly as possible.https://digicom.bpl.lib.me.us/ww_reg_his/1118/thumbnail.jp

From Moscow with love

One of the less researched aspects of postcolonial India’s “progressive” culture is its Soviet connection. Starting in the 1950s and consolidating in the 1960s, the Union of Soviet Socialist Republics invested in building up “committed” networks amongst writers, directors, actors, and other theater- and film-practitioners across India. Thus, an entire generation of cultural professionals was initiated into the anticolonial solidarity of emerging Afro-Asian nations that were seen, and portrayed, by the Soviets as being victims of “Western” imperialism. The aspirational figure of the New Soviet Man was celebrated through the rise of a new form of “transactional sociality” (Westlund 2003). This paper looks at selected cases of cultural diplomacy—through the lens of cultural history—between the USSR and India for two decades after India’s Independence, exploring the possibility of theorizing it from the perspective of an anticolonial cultural solidarity that allowed agency to Indian interlocutors

All together now: A symphony orchestra audience as a consuming community

This study examines the nature of communal consumption in the context of audience experience of the performing arts. Building on existing literature on consumption communities and ritualistic perspectives on shared event-based consumption, it uses focus groups and participant observation to investigate the experience of members of a UK symphony orchestra's audience as a consuming community (a 'consumity' in short). It finds tensions between respondents' perceptions of their individual and collective experience, framed within a pervasive anxiety about the sustainability of both audience and art form. It concludes that the communal aspect of audience experience is more complex and inflected than current notions of shared consumption acknowledge, in particular with respect to the audience's sense of itself over time. It concludes by questioning the absence from current arts marketing discourse of a more integrated view of the experience of customers in a temporal context