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From left side to right side, Queen’s Square’s bookends are the Bretts and the Blows, two overlarge and knowing Manchester families. Sitting on a thousand secrets, they are central to everything, vitalized and full of life – not rough, but happy – escapist and impossible to match. Both families welcome ours, the Dwyers, with doors always open in a way that modernists assume never actually happened. The Blows live at the end house in the square, rammed up against the high wall of Loreto, their annual November 5th bonfire drawing in all of the Square’s residents, unifying the leathery old with the darting young.
I am caught and I am devoted to a fault. Snobbery jumps in. If I can sing, I am free, and no legislation can stop me. Sacha Distel, of course, has everything except a strong voice, whilst Matt Monro has a propelling voice, but not the physical poetry. Shirley Bassey fires a certain bolstered timbre that lifts her out of the Rose and Crown, and the Maria Callas history-of-human-torture facial expressions certainly appear to be additional value for money (even if, during brief interviews on television, she is unable to relax, as if desperate to conceal an extensive lack of personality).
By this he means my merging musical obsessions, and my heart sinks down into a new darkness. There is nothing I can salvage from this accusation, and the eyes pool, as I lose. From left side to right side, Queen’s Square’s bookends are the Bretts and the Blows, two overlarge and knowing Manchester families. Sitting on a thousand secrets, they are central to everything, vitalized and full of life – not rough, but happy – escapist and impossible to match. Both families welcome ours, the Dwyers, with doors always open in a way that modernists assume never actually happened.
Autobiography by Morrissey