This chapter explores Mixing It Up, the general and cultural marketing of the Gay Village relative to Curry Mile and the notion of 'practice-led' research and how it relates to writing transnational South Asian art histories. Sangam's involvement in Mixing It Up marked the first queer art project in Curry Mile, according to McCormick. The Gay Village is also not part of the Oxford Road Cultural Corridor (ORC), and Canal Street is not even physically a continuation of Oxford Road like Curry Mile. In comparison to Curry Mile, Manchester marketing brochures give the Gay Village a metonymically privileged position. Marketing Manchester is also one of the principle backers of Manchester's Pride parade, held in and around the Gay Village. During the 1990s and early 2000s, a confluence of factors spurred the city of Manchester to embark on a massive project of civic regeneration tied to various cultural projects.
In this chapter, the author, through a family history, speaks of how forced exile persists through generations. He narrates the series of events that took place after he left England and moved to United States, including the catastrophic failures of nuclear reactors. The discussion largely focuses on the incidence of cancers caused by exposure to radioactivity in England, and the impact it had on Anglo-American relations. The author also showcases the differences between English and American cultures.
In this chapter, the author discusses the cultural life in Rochester, New York, in the 1920s. The city of the 1920s is often referred to as 'Mr Eastman's town'. Economically, the first three decades of the twentieth century had been described as Rochester's golden age, and the centrality of Eastman-Kodak to the city's prosperity had important cultural consequences. The establishment by George Eastman of the Eastman School of Music and the Eastman Theatre in 1922 was the single most important event marking the 'end of provincialism'. The 'Rochester Renaissance' owed a lot to Eastman's wealth and philanthropy .
In this chapter, the author explains the internment of aliens in Britain during the Second World War. The 'internment of aliens' is a peculiar and rather hysterical measure taken by the British government after Dunkirk. The author describes his father as an alien. He is alien to Britain and to English culture. He came to Britain from Germany in February 1938, was a class C 'enemy alien' (recognised as a genuine refugee, and officially designated a 'friendly' enemy alien). The classifications were made by wartime tribunals set up in Britain in 1939.