Every Place Has a Story

How the Melbourne Hotel became No5 Orange

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The Melbourne Hotel became No5 Orange in 1971, after 67 years as a hotel and beer parlour

Melbourne Hotel
Melbourne Hotel, Main and Powell Street. Courtesy Dean Brandolini

The Melbourne Hotel opened in August 1904 at Westminster Avenue and Powell Street. According to the daily classified ads that ran in the Vancouver Daily World and Province, it had steam heating, electric lights and a white cook. Rates ranged from $1.25 to $1.50 per day with a special rate for long-term boarders.

The Brandolinis

Around the time that the Melbourne Hotel* was establishing itself in the city, Leone Brandolini arrived in Vancouver. He bought a house at 507 Prior Street, took labouring jobs, and became a bootlegger during BC’s Prohibition (1917) and later during US Prohibition (1920-1933). He moved into rum running competing against Daniel Joseph Kennedy for marketshare.

Leone Brandolini
Leone Brandolini on Prior Street, ca.1930s. Courtesy Dean Brandolini

Leone’s son Goliardo (Gillie) eventually joined the family business, married Ermie (sister to the legendary street photographer Foncie Pulice) and they had Leon and Charlene. Younger son Harry arrived 17 years later. Both Leone and Gillie did time at Oakalla prison, but it didn’t slow the family business and Gillie’s sister Elma took baby Charlene out for a walk every day around the East End in a stroller with a false bottom.

Gillie and Elma and pram
Gillie and Elma and baby Charlene outside 507 Prior Street. Courtesy Dean Brandolini

“She would take her daily stroll from 507 Prior with Charlene,” says Harry. “Unbeknownst to the law at the time, she was actually making sales of alcohol as well.”  Charlene became a popular performer in Vancouver with a star on Granville Street. Gilley made enough money from working at the Columbia Hotel and bootlegging to buy the Melbourne Hotel in 1942. Gillie ran the beer parlour and Elma looked after the rooms.

The Melbourne Hotel

“Pretty well every hotel at that time was built with a beer parlour on the main floor and a few floors of single rooms,” says Harry. “It was literally just a room with a sink and a communal washroom on each floor.” Gillie’s son Leon went to work at the family hotel, and Harry started working the nightshift as a teen in the late ‘60s. After high school he worked in the beer parlour.

Gillie Brandolini at Prior St
Elmo, Gillie and Guido, 1936 on Prior Street. Courtesy Dean Brandolini

By the early 1970s, the area had changed and Gillie sold the hotel. “He sold it to a couple of young guys who had made a bit of money in real estate and thought it would be fun to buy a skidrow hotel,” says Harry. “When it came time to do the deal, one of the owners wanted to change the name to something New Orleans style—and he wanted a colour and a number in the name.” He asked Gillie to name his favourite colour –which was orange, and his favourite number. “My dad said that’s easy. He was a huge Yankies fan and Joe Dimaggio wore Number 5.” Leon stayed on to manage the beer parlour and Gillie held the mortgage.

The Brandolinis inside the Melbourne Hotel
Leon, Ermie and Gillie Brandolini inside the Melbourne Hotel, 1971. Courtesy Dean Brandolini
No5 Orange

The new owners painted the building orange, brought in a live DJ and cranked up the rock ‘n roll. It was hugely successful, but by 1973 they were tired of the business, Gillie had passed away and Harry, Leon, Charlene and their mother Ermie bought the building back.

The night business boomed but the place was an empty shell during the day. They tried various ideas to increase business, and then one day Leon checked out the Olympic Hotel in North Vancouver. He noticed that the strippers danced for the lunch crowd and left. “Leon said ‘why are they doing this? They have a place full of people and then they stop the entertainment, Why?”

Adding machine from the Melbourne Hotel
Adding machine from the Melbourne Hotel. Courtesy Harry Brandolini

The Brandolinis called a family meeting and voted to turn the No5 into a daytime strip club. “Leon’s hand went up, Charlene’s hand went up, my Mum’s hand went up, and I got outvoted,” says Harry.

Strip Club

Charlene’s husband James Hibbard, a choreographer from Los Angeles, worked with the strippers during the day and live music continued at night. No5 went under renovation in 1976 and Harry brought in the R&B Allstars to play weekends. It was a big hit, but after a year or so the competition from nearby hotels started to affect business and the line ups outside the building were no longer. “We decided to flip the switch and go full time with the dancers, from 11 in the morning to 1 a.m.,” says Harry. “We created a really great business and treated everybody with respect. If we hired you, you became part of the family. The dancers felt very safe at No5.”

No5 Orange

The Brandolini’s bought the Brass Rail Pub in Coquitlam and sold the No5 in 1981—after nearly forty years as a family business. Leon died in 2012, and his son Dean is now the keeper of the family’s colourful history.

*Being from Melbourne, Australia I was intrigued how and why the Melbourne Hotel got its name. The Brandolini’s don’t know, and according to Changing Vancouver, the first owners Donald McRae and Elizabeth McCannel are from Ontario.

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The photographs of Jan de Haas (1914-1967)

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Jan de Haas photographer
The New Granville Street Bridge, Jan de Haas photo ca.1955

When I think of photographers working in Vancouver in the 50s and 60s, I think of Foncie Pulice, Selwyn Pullan and Fred Herzog.

Foncie was a street photographer who opened Foncie’s Fotos in 1946 and shot millions of photos of people as they strolled Vancouver’s streets. Vancouver-born Selwyn Pullan, served in the Canadian Navy during the war, worked as a news photographer for the Halifax Chronicle, returned to Vancouver in 1950 and reinvented architectural photography. Fred Herzog immigrated from Germany in 1953 and some of my favourite photos are ones he shot of vacant lots, backyards in Strathcona and ordinary people on ordinary streets.

They didn’t know it at the time, but all three photographers were creating a historical record of Vancouver and revealing intimate details of our changing city.

Jan de Haas
Alcazar Hotel, Jan de Haas photo, ca.1955. The Alcazar opened in 1913 at 337 Dunsmuir and demolished in 1982 and replaced with the BC Hydro building

Last week, Wiebe de Haas sent me some photos that his father Jan de Haas shot during that period. I liked how he’d captured different parts of Vancouver and the neon signs of the day and I wanted to know more about him.

Jan de Haas brought his wife and three children to Canada from the Netherlands in 1952.

“Colour photography was on the rise and he thought coming to North America would give him the opportunity to advance in his field as a photographer,” says Wiebe.

Jan de Haas
Shores Jewelers opened in 1948 in the Dominion Building, 207 W. Hastings. Jan de Haas photo ca.1955

Jan was hired at Photo Arts on Hornby Street, and within a few years had opened a store front business with his wife Ilse on 10th Avenue in West Point Grey. The de Haas’s built up a solid business shooting passport photos, portraits, weddings, grad photos at UBC and some commercial photography.

Jan de Haas
Jan de Haas

Jan was a member of the Professional Photographers of Canada, and before he died in 1967, he created a trophy to be awarded to the photographer who shot that year’s most creative image. The trophy was designed by his friend George Norris, a prolific sculptor best known for the giant metal crab that sits in the fountain outside the H.R. MacMillan Space Centre in Vanier Park.

The trophy is a work of art.

“My father wanted to give something to the organization of his peers, whom he respected and relied on,” says Wiebe. “He liked the idea that the trophy was symbolic of birth, the creation of life. It is as much a remembrance of George Norris as it is of my father.”

A globe with five lens windows is mounted on a chrome stem and dome base and held in place by small bolts. The globe represents the womb, and inside is a chrome fetus. “Except for the pin-hole camera, all cameras use a lens to focus the light onto a focal plane,” says Wiebe. “The bolts seem to me to symbolize camera construction. The fetus is a symbol of new creation, of new expression and ideas.”

In 2011 Wiebe had the honour of presenting his father’s trophy to Langara photography student Christoph Prevost. It was the first time a student had won in the history of the memorial trophy.

Jan de Haas
George Norris, Jan de Haas photo ca.1960s

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