Slash was bored. The iconic shredder from Guns N’ Roses, famed as much for his seething guitar licks as his Niagara of dark curls, surly sneer and non-ironic top hat, paced the film projection booth at the Mitchell Brothers O’Farrell Theatre as he waited for the strip club’s notoriously hard-partying co-owner Artie Mitchell. 

A magnet for lustful and plain curious celebrities, including on this night the freshly famous bandmates of Guns N’ Roses, the upscale flesh emporium in San Francisco, home to some 100 dancers, was anointed the “Carnegie Hall of sex in America” by none other than gonzo journalist and Mitchell Brothers confidant Hunter S. Thompson. 

Famous and infamous, classy but trashy, a spotless venue filled with dirty deeds, the O’Farrell was where I worked for three months when I was 19. It was novel. It was exciting. It was a droning bore.

So there was Slash in my workplace, a quintessential rocker I didn’t recognize. Guns N’ Roses was relatively new, despite having just sold two million albums, and was in town shooting a scene for Clint Eastwood’s latest Dirty Harry movie, “The Dead Pool.” The group’s hit “Welcome to the Jungle” revs the film’s soundtrack.

A fellow longhair, I shot the breeze with Slash, who explained that, no, he was not a member of Bay Area metal band Exodus (my bad), and that his actual group, GNR, wears its influences on its sleeve, from the Stones to Aerosmith. I still didn’t know who the hell they were. 

Enter Artie. “You look tired. Let’s chop one,” he tells Slash.

Here’s what I wrote in my journal later that night:

“Slash’s eyes glow and a malicious grin cuts across his sagging mug. We’re in the projection room and they go to the counter and Artie begins to nonchalantly cut a fine white powder and shape lines. And he slurs, ‘Let’s make the first rock ’n’ roll porn film!’ They howl with laughter.”

The job was surreal that way. 

A callow journalism student at San Francisco State, I was lured to this unusual gig at “one of the most infamous and oldest erotic dance clubs in the country” by rumors that Hunter S. Thompson, an ink-stained hero, was working at the club as night manager to write a book. (He did work there for a bit in 1985. The book never materialized.)

When the place closed last fall due to Covid-19, right after its 51st anniversary — it opened on July 4, 1969 — many appraisals appeared about the O’Farrell Theatre’s checkered history. 

For instance: the Mitchell Brothers, Artie and Jim, were the defendants in over 200 court cases involving obscenity or related charges. (They were never convicted.) In 1991, Jim fatally shot Artie and was sentenced to six years in prison for voluntary manslaughter. (Jim died in 2007 of a heart attack.) In 2000, their story was dramatized in the movie “Rated X” starring real-life brothers Charlie Sheen and Emilio Estevez as Artie and Jim.

The postmortems are expectedly zesty. Yet I haven’t read a better physical snapshot of the den of debauchery than this one from SFGate.com:

“Like most strip clubs, the Mitchell Brothers O’Farrell Theatre is a plush, disorienting palace. Upon entry, the walls are smattered with headshots of dancers and pornographic memorabilia. The walls are mirrored; the curtains are velvet. For decades, beneath the scintillating glow of disco balls and red rotating lights, the carpeted kingdom has provided anything from nude lap dances to ‘flashlight shows’ for San Francisco’s ‘weirdo’ strip club clientele.”

The writer does neglect to mention the hallways lined with gurgling aquariums, the Green Door Room (three women and a working shower), the glass case stocked with pink sex toys, and that those flashlight shows were far more gynecological than titillating. (The writer also wouldn’t know what my manager told me on my first day: “Don’t touch the girls. It’s like fucking the boss’ wife.”)

To some, my job sounds breathlessly, unimaginably sexy, each shift an hours-long orgasm of totally unclothed ladies with frisky stage names — Bambi, Trixie, Roxie — doing things with and to each other many people couldn’t (or wouldn’t) conceive.

But a job it was — fun, alive, yet often grinding. I not only ran the old-school film projectors, I also DJ’d live shows, did floor “security” and made beer runs for the brothers and their guests. (Because the women were all-nude, no alcohol was sold in the club, and the brothers confined their partying to the upstairs offices and, in Artie’s case, the projection booth. I eventually split a DosXX with Slash there.) 

Besides the random celebrity client — GNR, Aerosmith, Billy Idol, in my day; Trevor Noah and Justin Bieber more recently — the famous folks who dropped in were usually working girls. These would be “golden age” strippers and porn stars, from Marilyn Chambers and Nina Hartley, to Hyapatia Lee (who generously lactated on the audience) and a geriatric Tempest Storm (who, dubbed “The Queen of Exotic Dancers,” died in April at age 93).

Call it an education. Chatting with male patrons, I learned what made them tick and why they kept coming back week after week or more. Chatting with female coworkers, I learned what leads one to strip and, in many cases, perform XXX acts in public. 

Rarely I got hit on by a dancer (“Anytime you want some excitement, let me know,” offered Sasha), or even a male customer (“Are you sure you wouldn’t take a tip to be touched somewhere?”). I learned how mundane the human body really is (and isn’t) and the contortionist lengths we’ll go to be turned on by it.

My stint at the O’Farrell was meant to be a life experience and, truly, fodder for my own writing. That implies I was enchanted and starry-eyed the whole time. I wasn’t. After my very first shift, I was effectively inured to the supposedly sexy spectacles. A fantasy for some, there’s little fantastic about it. It’s nude ladies. It’s horny men with rolls of cash. It’s a dubious lap-dancy, pelvic-thrusty, semen-stained subculture. It’s a job. 

Says one of the theater’s longtime (jaded?) DJs: “Being a male-bodied man in your 20s and being around naked women, it’s the shit, but after a while you’re desensitized, and they’re your sisters.”

Exactly. And that’s not so bad, is it?