It seemed like a match made in heaven: a Mickey D’s right outside upper George Street’s Metropolitan Hotel. A greasy fast food basin would have been – and for many years, was – the perfect catchment area for empty stomachs hoping to dilute the copious amounts of alcohol they were about to ingest over the course of an evening out.
So what went wrong?
As a name, the Metropolitan has stood on this spot since 1879. Before that, this part of old Sydney town wasn’t so metropolitan. Prior to 1834 this was a lumber yard: thirsty work, so that year it was released from its status as Crown land for development as a hotel, originally the Castle Tavern, and later as the preposterously named La Villa de Bordeaux.
Publican P. Wilson’s continental experiment didn’t bring the boys to the yard, and by 1867 the building, which included a dispensary, a tailors and a drapers shop, was empty. 1879’s drinkers were more amenable to the idea of a pub on this corner, and thus the Metropolitan was born.
Once the shawl of sophisticated metropolitana fell over the site in the middle of the Victorian era, it wasn’t easily lifted. As with so many Sydney pubs, a brewery took ownership – in this case, Tooth & Co. The excess real estate attached to the building was employed, in 1910, to transform the Metro into a new breed of 20th century super pub. Thus Tooth’s dispensed with the dispensary and tailors, a bottle shop was added to the ground floor, and the neighbouring terrace, built at the site’s inception in 1834, was incorporated into the metropolis of George and Bridge.
In the last century the hotel has changed owners a few times. In the 1930s it was the Bateman’s Metropolitan. In the 60s, it was part of Claude Fay’s hotel portfolio. Today, it’s back to the plain old Metropolitan. This lack of ownership qualifier perhaps distills the idea of a ‘Metropolitan hotel’ to its purest essence – it belongs to no one, to everyone.
Or perhaps we should stick to talking about the ground floor.
McDonald’s and a night on the plonk used to be synonymous, but over the years there’s been a move by imbibers away from processed junk and kebabs, and toward a traditional pub feed. Pubs have seized on the move, providing eateries and “classic” menus in newly renovated wings of what were once snooker rooms or smoking lounges.
Even the trusty kebab has been elbowed out of contention by the schnitty. Where did my country go?
So in a rare move, this McDonald’s beat a hasty retreat to less discerning pastures. You don’t often see the Golden Arches admitting defeat, let alone leaving up scads of damning evidence of their tenancy here.
Poor form too, the Eye Piece, which has opted only to invest in the ubiquitous trend of the pop-up store rather than a real shopfront. As Sydney rent prices continue to accelerate towards Uncle Scrooge-levels of ridiculous money, shop owners have fought back by negotiating shorter terms. This means there’s no need for a total shopfront fit out, which in this case has laid bare the failure of Ronald and associates.
Funny choice of location for an optometrist though, isn’t it? Specs downstairs, beer goggles upstairs.
It seems like a match made in heaven.
Goldfinger said, “Mr Bond, they have a saying in Chicago: ‘Once is happenstance, twice is coincidence, the third time it’s enemy action.’”
– Ian Fleming, Goldfinger (1959)
One of Australia’s greatest sins is envy. In the early years our aspirations cast us firmly in the role of Little England, and ever since World War II we’ve aspired to be Little America. Look around: we’re doing a pretty good job.
But for a couple of decades there we achieved what appeared to be a national identity, entirely based on the most valuable export of all – celebrity. Movies, personalities and music we could call our own. Our Kylie. Our Hoges. Our Mark “Jacko” Jackson.
Up until the mid 1960s, it seems as if Australia’s music scene simply seemed to coincide with what was going on overseas. Johnny O’Keefe wasn’t overly concerned with copying his American contemporaries (for creative reasons, anyway); his association with US-born promoter Lee Gordon barely qualified as even a mere facsimile of an Elvis-and-the-Colonel style relationship.
Largely forgotten by the time of his death in 1963 after years of declining fortunes, Gordon’s contributions to Australian pop culture remain relevant. These include opening Sydney’s first striptease club and drive-in restaurant (sadly, two separate establishments), and translating into local parlance the blueprint for rock’n’roll success.
O’Keefe, Australia’s first “homegrown” rock star, may seem tame by today’s standards, but in 1958 he was a revelation. “Wild One”, his signature tune, persists today, best known to stoners and the unemployed as part of the opening of ABC’s Rage music video show.
The Wild One was soon outpaced by others inspired by his lead, and in 1978 finally bowed out of the race. His death (from a heart attack) had come a year after that of his idol, Elvis Presley.
Throughout a life and death which could only be deemed “wild” by the mannered standards of Australian society, Johnny O’Keefe forged a path for others seeking rock’n’roll fame and fortune to follow. That Col Joye is still alive and O’Keefe is not should tell you all you need to know about how to make it.
For better or worse.
But JOK’s failure to crack the American music market haunted the Australian entertainment industry. It was as if his inability was seen as a national slight – if he was our best, our wildest, and HE couldn’t do it…who could?
And so began the tradition that continues to this day. Musical acts form in Australia (or New Zealand), play the pubs, clubs and RSLs, top the charts and try to take their act – and Brand Australia – overseas. Sometimes they make it big in Europe. Sometimes in Japan. But only rarely is someone from the great brown land able to part the Pacific and Atlantic, and access the pleasure dome of riches in between.
While AC/DC was able to cross over (and stay there) by the late 1970s, the list of Australians to make a splash in the USA that decade is as short as it is dire: Helen Reddy, Olivia and the brothers Gibb. Were these really the ambassadors of Aussie music overseas, especially when there was so much good happening here?
In the following years, the dream seemed to die. The Bee Gees shattered records with their contributions to Saturday Night Fever, ONJ scaled Mount Celebrity with Grease; both acts were on the nose by the early 80s. AC/DC frontman Bon Scott, the most charismatic Australia had yet produced, didn’t even make it that far. In 1979, just as the band’s Highway to Hell was finally breaking through, he died alone in his car, in excess.
Bands used these cautionary tales as incentives to work harder and aim higher, but none quite topped the bill. Among those who came close were Dragon, a bunch of Kiwis who had the charisma and the attitude to make it, but none of the self-control. A disastrous 1978 tour of the USA, intended to break them, did just that, but not in the way they were hoping. When you learn what it eventually took to top the US charts, it’s clear how painfully close Dragon came.
That spectacular failure and the rise of a newer, more calculated sound crossed paths in this curio from 1982:
By that time, Dragon were seen as has-beens, having had their chance and blown it. You can see it in that video, in Dragon’s lead singer Marc Hunter. He’s trying the rock star act but without any real conviction. The shades appear to be shielding him (or us) from the regret.
On the other hand, quiet 22-year-old Michael Hutchence seems self-conscious, fidgety, totally unprepared for what the next few years will bring him. Given Hutchence’s babyfaced appearance and insular behaviour, we can file Hunter’s prescient advice to him firmly under coincidence.
1991. The land at 33 Cross Street, Double Bay has been in a state of development for decades. Originally, the property had belonged to a John Gray, who in 1857 constructed his grand manor ‘Heath’ on the site. By 1934, ‘Heath’ had been converted into flats, and a bunch of other unit blocks had popped up on the site. As the 1970s rolled around, the greed that buried Juanita Nielsen came to Double Bay, looking to commercialise New South Head Road and the surrounding streets, and Cross Street was right in the crosshairs.
In 1986, while Hutchence was busy seducing the USA, ‘Heath’ and the surrounding flats were earmarked for demolition by council. Two years later, as Hutchence basked in the success of his biggest album to date, Woollahra Council approved a proposal to build a six-storey hotel complex on the site. ‘Heath’ was immediately demolished.
Being constructed in the early 90s wasn’t a pretty thing for buildings. More often than not you’d end up with spiffy new brickwork that made you look like that kid at school whose uniform hadn’t been worn in yet and looked a bit too dorkily crisp. Pretentious Roman-esque pylons, entirely too much concrete and a feeble attempt at a futuristic aesthetic intended to distance big cities from the all-too-recognisable frontages of the 1970s were common crimes among the new generation.
And so it was for Double Bay’s new Ritz Carlton Hotel, which shortly after opening for business in December, 1991 was hired out in its entirety by then-US President George Bush for his Sydney visit. Read my lips: no vacancies.
Meanwhile, Michael Hutchence and his backing group, INXS, are beginning their descent from the peak of global rock superstardom. Their monster single ‘Need You Tonight’ had topped the US charts in 1987, the first Australian song to do so since Men At Work’s ubiquitous ‘Down Under’ in 1983. There wouldn’t be another until Savage Garden’s ‘Truly Madly Deeply’ in 1998, by which time we’d apparently settled on lame MOR AOR music as our primary export. And Hutchence…
Well, we’re getting ahead of ourselves.
INXS had emerged from the same pub scene that had bred Cold Chisel, Australian Crawl and the Angels, all of whom had tried and failed to make it in America. But where those bands had brandished an idiosyncratic, very Australian sound which made for hard listening overseas, INXS drifted away from their earlier, quirkier hits and rough image towards something a lot more contrived.
Apparently overnight and entirely coincidental to the band’s quest for fame, Hutchence transformed from the shy boy in the above video into a feline rock god who seemed to effortlessly channel Jim Morrison. It was as if he had altered himself entirely on the whim of the band, which then found itself struggling to back him up.
Questionable visual appeal of the other band members notwithstanding, Hutchence’s image and the cool, slick grooves the band laid down provided the perfect package for American audiences who didn’t even know they wanted it. In a time of hair metal and butt rock, Hutchence provided Americans with a throwback to an era where rock and roll legends were born. Whether this was intentional on his part is unclear.
I’m sorry, but when you go back and listen now, INXS’s 80s hits are indeed all style and no substance. They’re like animated gifs in music form: just one groove or riff repeated for an often obnoxious five minutes. Hutchence’s sexually charged delivery and very slick production values go a long way towards elevating them beyond sounding dated. At least, they did for a while; sadly, anything from 1990’s X album onwards sounds painfully of its time.
There’s certainly nothing particularly Australian about INXS either. At a glance, they could be American (or at least Canadian). This factor made them a target in the eyes of the Australian media of the day. Hutcho’s profile increased with each supermodel he dated, each paparazzi he punched out, and the media were there to hound him every step of the way.
In retrospect, it’s hard to imagine why he was such a drawcard for the tabloids. Perhaps his sudden rise and boring fall coincided with a boom in Australian tabloid media, which in the early 90s was caught somewhere between American sleaze journalism and hardcore British pap-rags. Maybe he was just more interesting than John Farnham or Daryl Braithwaite. Hard to believe, I know.
Speaking of celebrities, the Ritz-Carlton was, by coincidence, also proving to be a breadwinner for the Sydney paparazzi. Madonna rented several rooms in 1993 (hope they washed them afterwards), and larrikin former PM Bob Hawke married his scandalous amour/biographer Blanche d’Alpuget in front of 150 guests there in 1995 (REALLY hope they washed those rooms afterwards).
But what the Ritz-Carlton didn’t want you to know, with all their boasting of celebrity clients, was that even early on, financial struggles had accepted a permanent residency. An October 1992 report revealed an average occupancy rate of just 37%. Remember that number.
That was also the year that marked the full tilt slide in popularity for INXS. That year’s album Welcome to Wherever You Are had tanked; the accompanying Sega Mega CD ‘Make My Video’ title was beneath the treads. The band, unable to capture their Kick-era glory, were floundering. Hutchence in particular seemed wounded by the fall, with a strange event in August of that year exacerbating things.
During a night on the town in Denmark with his girlfriend, model Helena Christensen, Hutchence had become involved in an altercation with a taxi driver. Punches were thrown, and Hutchence hit his head on the pavement, fracturing his skull. He lost his sense of taste and smell, and became, in the words of INXS bassist Garry Gary Beers, “a dick”.
While Madonna was justifying her love in the Ritz-Carlton in 1993, the band released yet another “comeback album”, Full Moon, Dirty Hearts, the occupancy rate of which would have made the Ritz-Carlton proud. Production of this album was troubled, with the band finding itself at odds with an increasingly volatile Hutchence, who had become prone to violent mood swings and outbursts.
INXS laid low for several years, perhaps sensing its ever-increasing irrelevancy. But despite the lack of success, Hutchence still found himself a tabloid target. Maybe the back-to-back unsuccessful albums were intentional; a misguided attempt to dissuade the paps. Even if so, he didn’t do himself any favours when he shacked up with UK media identity Paula Yates.
Yates was the wife of Live Aid mastermind/Boomtown Rat Bob Geldof, but in 1995, ‘Do They Know It’s Christmas’ was a decade old. For Paula, it was time to trade up. In 1996, she became pregnant with Hutchence’s child and divorced Geldof, sending tabloid media into a foaming frenzy. I’d just like to ask, even with the benefit of hindsight: who really cared?
Meanwhile, the Ritz-Carlton was in the spotlight again, also thanks to a high-profile British divorce. No less than Princess Di occupied the Presidential suite in 1996 following her divorce from Prince Charles. Can I stop right here and ask why an Australian hotel needed a Presidential suite? Why can’t high rollers choose to stay in the Prime Ministerial suite?
Hotels are dehumanising places. Underneath the colours, they’re fake, temporary shelters; a place where you can be someone else and leave yourself at your real home. A place where people treat you like royalty because of how much you spend rather than who you are. You’re never truly yourself in a hotel, you’re just waiting for your next role.
Princess Di would have known it as she pondered what to do with her life following the most scandalous royal decision since the abdication.
President Bush would have known it, as he assessed his plummeting opinion polls and an all but guaranteed loss to a newcomer Southern Democrat.
Bob and Blanche would have known it as they faced a future viewed not as former PM and author, but as adulterer and home wrecker.
Madonna…no, that’s too easy.
And so too would 37-year-old Michael Hutchence have known that gloomy feeling of dissociation and temporary anonymity as he checked into the Ritz-Carlton in November 1997 under his nom de plume. “Mr. Rivers” headed up to room 524, dumped his stuff, pocketed a few fancy soaps (probably), and headed out to rehearsal with INXS.
That evening, he had dinner with his father at Flavour of India at Edgecliff, where he spoke positively about the future, particularly about the prospect of spending Christmas with Yates, their daughter, and her three other kids.
When Hutchence returned to his room, he found himself despondent. He called some friends up to chat and get high, but they didn’t stay the night. Left to his own devices, his personal life imploded, and the tide went out for Mr. Rivers.
Is it coincidence that Hutchence’s final cry for help should place him in the pantheon of tragic rock star deaths, despite his intentions?
Is it coincidence that on the site of a manor named ‘Heath’, a drug-addled, troubled Australian should die alone in his room while riding a wave of international success?
Is it coincidence that in the years after the fates of Hutchence and the Ritz-Carlton became intertwined, both the hotel and Hutchence’s band changed frontmen several times in vain attempts to recapture their former glory?
Where American hotels that play host to scandalous deaths, like the Chateau Marmot, revel in the sordid fame for years to come, the Ritz-Carlton took the very Australian route of distancing itself from the tragedy. For the next three years, there was no tribute, no signifier of what had occurred there. By refusing to capitalise on the by-association fame Hutchence had bequeathed it, the Ritz-Carlton had relegated his rock-star death to the realm of coincidence. ‘He would have died anyway, it just happened to be at a hotel,’ it seemed to say.
In 2000, the hotel itself experienced that feeling of dissociation when it changed hands and was renamed the Sir Stamford Hotel Double Bay. The Stamford Hotels and Resorts group was formed in Singapore in 1995, and named after the city’s founder Sir Stamford Raffles. I get what they were going for, but which fun-hating devils among us wouldn’t want to stay at the Raffles Hotel?
Here’s where things get a little…strange.
The Sir Stamford closed in 2009, with plans in place to demolish the hotel and replace it with 14-storey twin-tower apartments, presumably to keep Double Bay looking like the rest of Sydney. But Woollahra Council, bless ‘em, dared to be different and refused to listen like thieves, canning the proposal and leaving the Ritz-Stamford – and the once-prestigious Double Bay – to sink into destitution.
Illegal parties, prostitution rackets and Russian cabaret dinners all allegedly took place in the husk of the hotel for four long years, dragging down the reputation of the area just as Bondi Westfield dragged out all its money. For the blue bloods who believed Double Bay was still the beacon of avarice it had been in years past (as if that was something to be proud of), this came as a shock.
Now, when I was a kid, Double Bay had the dubious honour of being known simultaneously as “a really rich area” and “a place where smackheads steal VCRs”. Even with my mind conjuring up visions of the Foot Clan emptying delivery vans along New South Head Road, it was cemented for me as a place not to go. Rich people were trouble, “smackheads” sounded like trouble (no kid likes getting a smack, and especially not in the head), and the shops were all boring.
It’s amazing to me that in just 12 short years, Double Bay had gone from being a slam-dunk venue for a world-class luxury hotel to an absolute bomb site. Coincidence, then, that Michael Hutchence’s death had been the match that started the fire? Or maybe it had been destined to fall this far all along. Elegantly wasted, indeed.
In 2013, some extremely optimistic investors saved 33 Cross from the swing of the wrecking ball, and today, it operates as the InterContinental Double Bay, in the same building that played host to presidents, rock stars, Russian hooker parties, and all that other shabooh shoobah.
It wasn’t enough for me just to take some dodgy photos of the extremely difficult-to-shoot frontage; I had to get inside, and short of specifically asking for room 524 (let’s leave that kind of thing to the experts), I explored.
The chap at the front desk instantly denied any knowledge of anything that had remotely occurred on the premises prior to the moment I’d addressed him. In fact, he seemed almost terrified that one of the great unwashed had found their way in. Poor guy. They must have had a lot of stickybeaks coming in to see where it happened, so it must be in their training to deny everything.
Inside, the hotel looks quite vintage, so when I informed him that I was a guest, that I’d stayed there as a kid and wanted to know more about what the hotel was like then, he was much more forthcoming. He seemed quite proud of the place, despite only being the front desk guy – the finest loyalty money can buy. When he finished his spiel I turned to leave, anxious to go and take pics while I had this guy’s tacit approval. He called out after me, “Hey, what was your name, sir?”
The renovation work at the Intercontinental was pretty shoddy: most of the place was plastered up and looked quite tacky. I was convinced there had to be some evidence of the past here somewhere. You couldn’t go this long stagnating under the guise of “closed for renovations” and cover everything up. I was sure they would have changed the room numbers to confuse would-be trophy hunters, but there had to be something.
I found it in the retail warrens that criss-cross beneath the hotel proper. It’s not much, but it’s all you’re getting.
A country with a bad case of identity crisis, Australia backed its boy when he was on top of the American world, stuck the knife in when he wasn’t, and all but forgot about him once he fell on it. By Michael Hutchence, the coincidental rock star, the promise of Johnny O’Keefe was fulfilled. Ever since his death, once an Australian hits the top, they know where they’ll end up: falling down the mountain, end up kissing dirt.
Lifeline 24 hour crisis support number – 13 11 14
Time to try something new: think of this as a game of spot-the-difference writ large across decades. I’ll occasionally throw a few of these up just to spice things up a bit. To kick things off, let’s take a look at the Beverly Hills Hotel as it was back in 1981…
This photo, taken from what is now a car park across the road, shows that the Beverly Hills Hotel was once called the Hotel Bennelong, that there was some kind of Coke-sponsored diner next door to it, and oh, what’s that tall sign on the far left? I can’t quite read it. And if you think the BHH is rough these days, imagine how it must have been back then. There’s a reason those guys are wearing hard hats.
Of greater interest is what’s happening in the foreground: the council is hard at work putting in the stormwater canal that now runs parallel to the East Hills train line all the way from here to Wolli Creek. On the far right, caught in the midst of all this progress is some dude’s house. As he makes his way to and from work, then to and from the pub each day, little does he know that in a matter of years his home will become the local baby health centre…but that’s a story for another day. To the future!
In this context, 2014 sounds much more futuristic than it does as say, the expiry date of your driver’s licence, doesn’t it? The most striking aspect of the futurescape is the abundance of palm trees, installed to help lend Beverly Hills a Californian vibe. Counteracting this vibe is everything else pictured, especially the intrusive presence of the cameras. I know they’re there for our safety, but still – very Orwellian. It’s interesting to note that the hotel and Hepburn Court beside it remain largely the same as they were 33 years ago, and at this point I’d like to repeat that for any readers born in 1981 – 33 years ago.
Get comfy, this’ll be a long one.
Sometimes, it’s not so much about what a place has become as it is about how it got that way. This is certainly true in the case of Auburn’s Melton Hotel. Ordinarily I, like any passer-by, would take one look at the Melton and think ‘I value my life too much to go in there,’ subsequent to the instinctual thought of ‘Just another pub.’ Situated along Parramatta Road at the corner of Station Street, there’s just nothing that sticks out about the hotel in any way; not even the jovially named ‘Hey Hey Kebab’ adjoining gives cause for anything more than a mild double-take.
So why, dear reader, am I subjecting you to this dry account of a seemingly humdrum pub? Well, what piqued my interest (as I’m sure it will yours) was the simple fact that the street running parallel to the hotel’s side of the block is called Melton Street South.
This got me thinking: why was the pub named the Melton Hotel if it wasn’t actually on Melton Street? Clearly it was time for some field detective work, because I knew if I didn’t solve the mystery it would bother me all day. I couldn’t find anything about anyone named Melton in the area’s history (it’s not even clear to historians why the area itself is named Silverwater), but I had a feeling if they were honouring some local hero, they wouldn’t just name a pub and a street after them. First port of call: the Atlas of the Suburbs of Sydney, ca 1885-1890.
This map of Auburn shows that neither Station Street nor Melton Street South existed at the time. Today, they’re located between the map’s Stubbs Street and Sutherland Street (now Silverwater Road).
Next: time to research the pub itself. Thankfully, the pub in question has an illustrious history; according to the hoteliers, its license dates back to 1811 (when it was owned by Samuel Haslem, of Haslem’s Creek fame), attached to an inn located not too far from the current site. In 1877 a former jockey, Fred Martineer, became the licensee of the Melton Hotel and held that position for over 30 years, firmly establishing the pub as a favourite of the area’s myriad meat workers.
Tragedy struck in 1914 when, after too many cases like this…
…the public was swept up by a need to reinstill a sense of public decency via a series of local option acts. The acts enforced a six o’clock closing time for pubs and resulted in 293 hoteliers losing their licenses, including Martineer. Despite the pub’s closure and with flagrant disregard to the after hours prohibition, he continued to live in what became known as the ‘old Melton Hotel’ until his death in 1918:
The Old Melton had been named sometime prior to 1895, when it appeared on that year’s list of Hotel Licensees. It’s this hotel that sat on the corner of Melton Street South (then Melton Road), so from this we can assume the street was named after the pub. But, like me, the Martineers couldn’t let it go. In 1929, the Martineers built the NEW Melton Hotel at its current location, which at the time seemed to take up the entire section of Parramatta Road between Melton Street and Station Street.
That’s all well and good, but today it’s a very different story. Nothing remains of the Old Melton, the New Melton is nowhere near the corner of Melton Street, and there’s a string of dingy shops between it and its namesake street. What happened?
Discounting the obvious greed associated with subletting the Melton Street side of the block to said dingy shops, the true answer seems to lie in the Melton Hotel’s parking lot. The hyperbolic claim of “stacks & stacks of parking” is betrayed by the truncated nature of the car park itself. Here it is, seen from Station Street:
…is all that remains of this side’s former life as an entrance/exit to the Melton’s car park, and indeed of the Melton’s connection to the street it inspired. A closer look at the other side of the fence backs this deep bit of insight up.
The kerb is clearly a lighter shade of cement, indicating the spot where the driveway used to be. The two bushes are doing a laughable job of hiding the wooden fencing that blocks off those driveways.
One of the more interesting aspects of all of this is the sign that once guided thirsty drivers into the parking lot. Hidden by overgrown branches and worn away by years of neglect, there’s no real reason for the hoteliers to have left it there – least of all what it’s advertising. After all, if it hadn’t been for the sign, I never would have stumbled upon this madness in the first place. No, for me, the real gold is the sign’s reverse side:
While it would be nice to think that this was Tooheys doing its part to avoid another 1914 Local Option fiasco, the way the ad puts a jokey spin on drunken violence and employs a disturbing tagline clearly aimed at the breathalyser crowd suggests a more cynical set of motives. For better or worse, this didn’t take, and by 1995, 40 years after the Local Option acts were repealed, 2.2 was 6.0 feet under. It’s worth pointing out that 2.2 was supplanted in 1998 by Hahn Premium Light, which is now Australia’s top selling light beer…and owned by Tooheys. A fascinating trail of the significant episodes of 2.2’s short life can be found here (WORTH READING). I think the lesson here is don’t give your beer a name that invites terrible Richie Benaud impressions.
But back to the Melton. Also of note are the apparent remains of either a garbage can or a phone box (remember those?) located between the two driveways.
Let’s stop for just a second to process this. Regardless of whether this was in fact a garbage can which spent countless nights being chundered into by melting Meltonians, or a phone booth which spent its Friday and Saturday nights listening to endless pleas by hopelessly pissed pub patrons for their wives, girlfriends, parents or less drunk mates to come and pick them up, and then being chundered into, the fact remains that it was located BETWEEN the two driveways. How is this a spot for either of those objects which both appear as bright flames to drunken moths? The line for the phone alone would have been both long and drunkenly ignorant enough to queue across the nearest driveway. You can’t tell me this didn’t cause at least one clipped wing.
Even worse is the pub’s proximity to Auburn North Public School. Anyone foolish and drunk enough to ‘breathe easy’ and attempt to drive home via the Melton Street exit (or entrance, depending on the level of drunkenness) on a weekday afternoon ran the risk of knocking over a kid on their way home. If it didn’t happen or nearly happen, I’d be surprised.
With these reasons in mind, it’s easy to imagine just how and why the Melton would have had these driveways sealed up, thereby severing its ties to its own history. It’s also easy (and funny) to imagine particularly OCD and DUI pub patrons attempting to drive out of their usual exit and smashing the fence, otherwise why the need for the bushes and the potplants? Sure, the Melton could have chosen to seal up the Station Road driveways, which face the old Joyce Mayne complex, but it turns out that a child’s life is worth more than that of a shopper looking for bargain whitegoods. Who knew?
And all because some public spirited men didn’t know their limits and couldn’t hold their beer.
Of course, I could be wrong about everything, and I might owe both the Melton and overdrinkers everywhere an apology, but have a look at this:
You may have just read all that and be wondering ‘what was the point?’ or ‘where’s the remove bookmark button?’, but more inquisitive (or less demanding) readers may be wondering ‘What was so drastic that happened to Melton Road to cause it to be split into Melton Road South and Melton Road North?’
Next time, baby.
The owners of the East Village Hotel in Darlinghurst have tried their best to reinvent the place as a hip, relaxed pub in the middle of a trendy area, but it’s hard to miss the hotel’s old name – the Tradesman’s Arms – at the top. These days it’s hard to imagine tradesmen’s arms anywhere near this place, unless it’s to subject the pub’s period interiors to another refit.
Speaking of period, the Tradesman’s Arms dates back to 1918, and during its lifetime was known as the ‘Bloodhouse’, due to the extreme violence often on show within. It’s creepy to think that there was a pub in the Darlinghurst-Kings Cross area that stood out for its violence; nowadays it’d probably be considered pretty tame. In a time when tradesmen were wise to arm themselves with razor blades, this place was a favourite watering hole of Sydney underworld figure Tilly Devine, which should absolutely not come as a recommendation. No wonder they changed its name.