“Direct Threat” Defense to Discriminating Against HIV+ and Hep C+ Performers

Recently, there has been much discussion about whether performers in the industry who are HIV+ or Hep C+ or even previously infected with a disease such as syphilis should or could be allowed to perform again, even with condoms. This author has seen numerous tweets, forum message board posts and comments debating whether a production company could knowingly discriminate against a performer who has been infected with a non-curable disease that would be considered a disability under the ADA (Americans with Disabilities Act).

Many commentators and arm-chair attorneys have put forth the notion that to not allow such performers to work in the adult entertainment industry as performers in front of the camera would amount to an unlawful discriminatory act, actionable in court. While this might be true, employers do have a defense to such if they can establish that the infected employee is a “direct threat to the health and safety” of the other performers on set. OSHA and CalOSHA require that all workplaces are safe and free from hazards for all employees.

The direct threat defense is a narrow exception to the general rule that employers may not discriminate based on disability. An employer’s determination that an employee poses a direct threat cannot be based on fears, misconceptions, or stereotypes about the employee’s disability. The employer must make a reasonable medical judgment, relying on the most current medical knowledge and the best available objective evidence.

In deciding whether a direct threat exists, an employer should consider:

  • the duration of the risk
  • the nature and severity of the potential harm
  • how likely it is that the potential harm will occur, and
  • how imminent the potential harm is.

These factors must be weighed against each other to decide whether a direct threat is present. Even if an infected performer is using a condom does this negate any and all possibility of transmission of HIV or other various bloodborne pathogen illnesses during a scene ? What if the condom breaks ? What if the male performer prematurely ejaculates inside of the vaginal or anal cavity or his co-performer ? What risk is there to other members of the crew ? These are questions that need to be answered and addressed by not only the production company staff but also their medical team.

In 2002 the United States Supreme Court squarely decided this issue in the seminal case of Chevron USA Inc. v. Echazabal. Mario Echazabal worked at Chevron’s El Segundo, California oil refinery for some twenty years. During this time, he worked as a laborer, helper, and pipefitter for various maintenance contractors, primarily in the coker unit. In 1992, Echazabal applied to work directly for Chevron at the refinery’s coker unit as a pipefitter/mechanic. He again applied in 1995 for the position of plant helper. On both occasions, Chevron determined that Echazabal was qualified for the job and could perform its essential functions based on his past work history, and extended Echazabal job offers contingent on his passing a physical examination. In late 1993, Echazabal was diagnosed as having chronic active Hepatitis C.

After examination and review, Chevron’s physicians concluded that Echazabal should not be exposed to the solvents and liver-toxic chemicals in the refinery and Chevron withdrew its offer to hire him. They reached this conclusion even though Echazabal’s physicians had not issued any restrictions precluding him from working in the refinery.

Chevron’s decision was based on a medical assessment-which Echazabal contested was not grounded in current medical knowledge or the best available objective evidence-of the ability of Echazabal’s liver to cleanse itself of the chemicals to which he had been, and would continue to be, exposed in the refinery.

The Supreme Court held that before excluding Echazabal as a direct threat, Chevron was required under EEOC regulations to show that it had made an individualized assessment of his then current ability to perform essential job functions. This evaluation was required to have been derived from current medical knowledge and objective evidence.

The EEOC regulations, which were upheld in Chevron, set forth four factors for determining whether a direct threat exists: (1) the potential duration of the threat; (2) the nature and severity of the threat; (3) the likelihood that the threat will occur; and (4) the imminence of the threat. The Supreme Court found this approach reasonable because it supports a particularized analysis of the harm to the employee.

Even though Echzabal posed no harm to any other employee, his Hepatitis C combined with the exposure to the toxins at the refinery posed a threat to his own life. The Supreme Court held that even a threat to one’s self was enough to find that Chevron did not discriminate against Echzabal and remanded the case back to the Ninth Circuit for further hearings. Under the EEOC regulations, Chevron bore the evidentiary burden of establishing the existence of a direct threat. The individualized determination of direct threat also required Chevron to prove that possible accommodations were examined and found not to exist within reason.

I have highlighted that last sentence since it is so important in this matter. While it may be medically possible to determine that a HIV+ or Hep C+ performer is a “direct threat” under the four factors (again each case is different and will be factually based on how and what type of content each company produces) it does not mean that you can simply not hire that performer for any position on the set. It would be recommend that if another position is available (camera person, production assistant, videographer, lighting, craft services ect) that does not require the possibility of fluid transmission, that the HIV+ or Hep C+ performer be employed in that capacity. There is no basis under the “direct threat” defense that an HIV+ or Hep C+ person could not work in any other capacity on set. Failure to accommodate a potential employee’s medical condition can and will likely result in a claim of discrimination with the EEOC or California’s equivalent FEHA.

Therefore, this author cautions any studio or employer in the adult industry that is faced with the potential hiring of an chronically infected performer to seek the legal advice of an attorney experienced and knowledgeable in employment law before making any decisions or even comments to the potential performer. Remember, each potential hire will require an individual assessment as the direct threat. A studio cannot make a blanket decision that they will simply not hire a chronically infected performer.

Porn 101: Fetish Content – What’s Legal ?

woman in corset with hands tied focus on the frontI am often asked by producers what is legal and not legal to shoot in regards to fetish content. My usual answer is “it depends.” It depends on where you are shooting as well as what you are shooting and where the content will be distributed. For the most part, before Kink.com, fetish content did not involved sex or at least penetration. One of the last remaining “taboos” in adult entertainment was tying up someone and penetrating one or all of their orifices. Many producers to this day believe that may still be viewed as forced raped by law enforcement and worry about potential prosecution as well as obscenity charges from producing such content. While others see what Kink is doing in their productions and think that it is perfectly legal to follow to lead. That could not be farther from the truth.

Whenever I advise a particular producer or model that what they want to produce is potentially illegal or borderline illegal to produce the most often heard response I receive is “But so-and-so is doing it that way.” What most people do not understand is the vast financial differences between being Kink.com and XYZ Productions. Kink.com has the funds to pay for and defend any type of legal situation (Note: I do not represent Kink). XYZ Productions probably does not. Therefore, if Kink.com was ever prosecuted criminally or faced a lawsuit because of its content, they would have the ability to handle such a situation, whereas the little producer would be ruined an unable to defend.

Removing penetration from the equation though and fetish content actually becomes one of the best niche markets with the highest potential return on an investment. Not only is it less expensive to produce most fetish content then it is to produce traditional boy-girl, girl-girl or boy-boy content, it is also legal to produce in all 50 states, depending on the exact nature of the content.

For example, if you produce fetish content such as cake sitting, balloon popping, smoking, toe sucking, tickling, wrestling, POV humiliation, shoe worship and foot worship, as a producer you will have less to worry about in regards to potential criminal prosecution. Some fetish content requires absolutely no nudity and therefore you may not even have to maintain 2257 documentation. The vast majority of fetish content does not involve penetrative sex and therefore usually cannot be the basis of a criminal complaint for pandering or prostitution (be aware that shooting without a permit may still be a crime please check your local laws). You can literally produce certain types of fetish content anywhere. And it is often much less expensive to pay a model to pop balloons naked than it is to pay her to perform fellatio on a male performer. With the onslaught of tubesites, any type of “sex” content is easy to find for free on the Internet whereas fetish content is more specialized, harder to find for free and usually more often purchased then sex content. One of the easiest distribution methods for fetish content is on websites such as Clips4Sale.com ( http://www.Clips4Sale.com ). Not only is Clips4Sale an excellent distribution method but it can also be used as a resource tool to determine what is hot in the fetish market. You have to look no further to see what is selling on Clips4Sale to understand what may sell for you.

If you are going to produce fetish content without sex (oral, anal, vaginal or even handjobs) the possibilities are limitless as to the different niches and sub-niches you can produce. The list of all potential fetish content is too exhaustive to state in this article and I recommend that anyone looking to produce such content to choose several niches to begin with and experiment. However, once you find a particular niche or sub-niche your clients and customers may remain loyal for years to come.

Be aware that producing fetish content still has it owns potential issues. The following is a list of activities that you will want to stay away from incorporating into any of your productions as these may be considered criminal and/or obscene in some localities;

•    Underage Material Real or Simulated (ex., sex with dolls)
•    Snuff
•    Necrophilia
•    Blood
•    Asphyxiation
•    Animal Sex
•    Forced Sex
•    Non-consensual Sex
•    Hardcore Bondage with Sex
•    Vomit
•    Feces
•    Pissing/Peeing
•    Fisting
•    Chloroform
•    Weapons
•    Drugs
•    Intoxication
•    Crushing

While this list is not exhaustive as to what may or may be deemed obscene in certain localities it is a good starting point as to what may be problematic. Of course, if you are determined to produce fetish content it is strongly advised that you consult with an adult entertainment attorney BEFORE you begin any pre-production so that you may fully understand the legal ramifications as to the exact nature of the content you would like to produce.

 

 

Porn 101: 18 U.S.C. 2257 The Basics

384px-Texas_FM_2257.svgFederal Record Keeping Requirements and 18 U.S.C. Section 2257

How it began…

In the fall of 1984, Penthouse magazine featured Traci Lords in a pictorial and made her their Pet of the Month. She quickly became an overnight sensation in the adult entertainment business and rapidly went on to star in hundreds of adult movies and posed for numerous other magazines.

By the fall of 1987, it became apparent that Ms. Lords might have actually been under the legal age of 18 when most of her print and video work was performed, thus making her a child and a minor when she appeared in those videos and magazines. This sent shockwaves through the adult entertainment business and resulted in numerous distributors being indicted by the federal government for the sale of child pornography. Many in the business scrambled to recall, retrieve and destroy Ms. Lordís pictures and videos to avoid prosecution and conviction.

Congress also immediately reacted to this and passed 18 U.S.C. section 2257 which was designed to prevent other minor age persons from appearing in sexually-explicit content. Section 2257, as it is referred to, places several requirements on those that act in and produce sex-explicit content. It is, without question, an all important piece of legislation that everyone in the adult entertainment business should be familiar with.

What 2257 requires?

Any producer, whether primary or secondary, involved in the creation or commercial distribution of images that contain visual depictions of actual sexually explicit conductî must maintain certain records of those that perform in that visual depiction.

What is actual sexually explicit conduct?

(A) Sexual intercourse of any kind, including oral and even between same sex partners;

(B) Bestiality;

(C) Masturbation;

(D) Sadistic and/or masochistic behavior;

(E) Sexually explicit content meant to arouse.

Who is a producer?

(A) Anyone that produces, manufactures, publishes any book, magazine, periodical, film, video, or other similar matter and yes, websites are included in this list.

When did it take effect?

(A) It is in effect and has been for any new content made after July 3, 1995.

What do I have to do as a producer?

If you are a producer of content you must create and maintain the following records;

(A) The legal name of each performer obtained by the examination of an identification document;

(B) The date of birth of each performer obtained by the examination of an identification document;

(C) Any name, other than the performer’s legal name ever used by the performer, including the performer’s maiden name, alias, nickname, stage name or professional name;

(D) For any content produced after May 26, 1992, such names shall be indexed by the title or identifying number of the book, magazine, film, videotape or other matter and again websites are included in this;

(E) Keep copies of all the identification documents that have been examined separated from all other records.

What constitutes identification?

(A) A state or federally issued ID that bears the photograph, name and birthday of the performer.

What do I have to do as a performer?

(A) Have 2 forms of identification issued by a state or federal government showing your legal name, birth date and photograph;

(B) Have a list of all your stage names, professional names, nicknames or alias that you have used in the adult entertainment business over your entire career;

While it is not required I would also provide any producer/director the following as well;

(C) A list of all the titles of the video/DVD, magazine and website performances you have been in.

Where and for how long do I have to keep the records?

(A) At the producer’s place of business;

(B) The place of business must be a street address not a PO Box;

(C) The records shall be maintained for as long as the producer remains in business;

(D) If the producer ceases to remain in business, he or she shall still continue to maintain these records for a period of 5 years.

Labeling requirements under 2257…

(A) A statement must be affixed to every copy of the book, magazine, periodical, film/video, website or other matter that shows the title or identifying number of that publication and;

(B) The date of the production, manufacture, publication, reproduction or reissuance of the matter and;

(C) A street address at which the records can be made available;

(D) The person responsible for maintaining the records;

(E) The name of the corporation/legal entity as well.

What can happen if I violate 2257?

(A) Violation of 2257 is a felony and those found guilty of such shall be imprisoned for not more than 5 years and/or pay a fine;

(B) A second offense is punishable by imprisonment of not more than 10 years, but not less than 2 years and/or a fine;

Obviously, 2257 is a powerful statute and one that cannot be ignored. Failure to maintain these types of safeguards could also lead to the possible performance of a minor in an adult production which could have even greater potential for harm. The law is in a constant state of change in regards to 2257 and it is recommended that in order to fully understand those changes you consult and attorney immediately.

There are also many issues involved with 2257 that these pages have not touched on and remain somewhat unclear even to legal experts in the adult entertainment field. This summary is not meant to be exhaustive of what a producer’s responsibilities are when it comes to complying with 18 U.S.C. 2257. 18 U.S.C. 2257 is an extremely complex law and I strongly suggest that you contact competent legal counsel for additional information and advice.

Porn 101: Website Privacy Policies and Why You Need One

ablAs of July 1, 2004 California Law requires that an operator of a commercial Web site or online service that collects personally identifiable information through the Internet about individual consumers residing in California… shall post its privacy policy conspicuously on its website…Cal. Bus. & Prof. Code 22575-22579.

Besides being legally mandated in California, accurate privacy policies increase consumer confidence and awareness. Some affiliate programs have specific requirements for their affiliate privacy policies. You should be aware of the agreements that you have with any third party and how these agreements impact your privacy policies.

Your privacy policy should be easy to read and accurately reflect the way your business collects and shares information.

Below you will find some questions to consider in developing a privacy policy and clauses that may be found in a privacy policy. There is no one size fits all privacy policy. This document will vary from business to business. A privacy policy is a legal agreement between you and the people who do business with you. You should make sure that the statements made in your privacy policy are a true reflection of the way that you do business.

Your privacy policy should: (1) Be posted in a conspicuous place; (2) Identify the categories of information your company collects from consumers; (3) Describe the categories of third parties who you share your customer information with; (4) If your company allows customers to store and update their personal information, you must post the process in which they do so; (5) Describe how you will notify consumers of any changes in your privacy policy and (6) State an effective date.

Below are some sample paragraphs and clauses that may work for your privacy policy. This is a legal document that should be drafted by legal counsel.

Example of a Preamble:

This Privacy Policy sets forth the policies and practices with respect to information or data that is received or gathered regarding Members (note: do you have members?), visitors and Users of ____________ (hereafter the “Site”) or the services provided by the Site.

CAREFULLY READ THIS PRIVACY POLICY BECAUSE BY YOUR USE OF THIS SITE AND ITS SERVICES YOU WILL BE EXPRESSLY SIGNIFYING THAT YOU AGREE TO THIS POLICY AND THAT YOU ASSENT TO THE TERMS OF THIS AGREEMENT, INCLUDING THE USE OF ANY PERSONAL INFORMATION THAT YOU SUPPLY OR THAT IS COLLECTED ABOUT YOU AS DETAILED IN THIS PRIVACY POLICY.

IF YOU DO NOT EXPRESSLY AGREE WITH ALL OF THE TERMS OF THIS PRIVACY POLICY YOU SHOULD NOT USE THIS SITE OR ITS SERVICES.

Example of the Body of a Privacy Policy (note: these paragraphs or wording contained in them may not be appropriate for your specific business, this is just an example).

1. HOW WE COLLECT MEMBER, VISITOR OR USER INFORMATION

If you visit this Site, we may collect and store in our databases, one or more of the following types of information (ìDataî): your Internet Protocol (IP) address; the name of the domain name from which you access the Internet; the IP address of the Website from which you linked to the Site or our network of sites; browser data; email address data; and the date and time you access our Site and its functions. (Note: this is a relatively thorough list for an average paysite program, but if you collect another kind of information just by someone viewing your site, then you would list that here.)

When a visitor, member, subscriber, or other Site user requests web pages from the Site’s server, clicks on banners or other links or otherwise uses or views the Siteís services, products or other functions, we or our agents may automatically collect some information (“Data”) about the visitor, member, subscriber or user. This information may include the IP address from which the
Site is being accessed, the pages or links that were requested, the special preferences or requests of the user and cookie information received from the computer of the visitor, member, subscriber or user.

Sometimes, we may ask you to provide personal information. Whether or not you provide this personal information is completely optional. This Optional Information may include your name, username, e-mail address, physical address (or part of it such as your zip code), telephone number, gender, marital status, occupation, education and any special interests or affiliations. Additional Optional Information such as a credit card number, expiration date, security code and billing address may be requested for participation in special promotions or offers, or for billing and shipping information.

When a subscriber, member or user of this Site sends any personal communication or correspondence, by any means, to the Site, the Company or any employees, agents or representatives of Company or Site, we may collect and use any and all such information and all other Data regarding that communication.

2. COOKIES

Internet cookies are used for authenticating, tracking and maintaining specific information about users, such as site preferences or shopping cart contents. Most Internet browsers allow the option to enable or disable cookies. You may disable cookies, but this may make portions of this Site unusable. Cookies are simple pieces of data unable to perform any operation by themselves. They are neither spyware nor viruses, despite the detection of cookies from certain sites by many anti-spyware products.

This Site uses cookies to make the browsing experience of our members, subscribers and users more efficient and convenient. Our system will use cookies to remember your web preferences, and to assist us in tracking and targeting the interests, preferences and desires of our Site users to present the most appropriate messages, offers and other communications to our users, and to generally enhance their experience at our Site.

Any and all information about Site visitors, members, subscribers or users collected by the Company, the Site or any agents or affiliates of Company or Site, through the use of cookies or other similar means may be included in our database and used in a manner consistent with this Privacy Policy.

We want to inform you that third parties such as affiliates and advertisers use cookies on or in association with our Site. We often have no access or control over these cookies. We may also allow third party service providers to deliver special offers or services to Site users and to control the use of their cookies on your computer. We urge you to consult the privacy policies of any third party that you encounter on this Site.

(Note: web beacon technology, otherwise known as Clear GIFs, function similar to cookies, but are different. If you use this technology then you need an additional paragraph about Clear GIFs and)

3. HOW WE USE AND SHARE DATA AND PERSONAL INFORMATION

We use the information described in Sections One (1) and Two (2) for a variety of functions. In addition to using cookies, Data and Optional Information in the ways described above, we use this information to measure the number of visitors to the Site, to measure how traffic is generated and where it comes from; to track the success of our affiliate program and its individual affiliates (with whom this information may be shared); to track the receipt and success of customer newsletters, promotional programs, special offers and advertisements; and to generate and provide our marketing partners, affiliates, licensees, purchasers and successors in interest with accurate statistics on the performance of the Site. We also use cookies, Data and Optional Information to track customer preferences and to adapt our products and services to those preferences.

4. CHANGING YOUR PERSONAL INFORMATION

5. UPDATES AND REVISIONS TO THIS POLICY

This Site reserves the right, in its sole and absolute discretion, to revise, amend, modify or revoke this Privacy Policy at any time and in any manner. Changes to this Privacy Policy will be effective upon the posting of any revision on the Site.

6. EFFECTIVE DATE OF THIS POLICY

This Privacy Policy will become effective on _____________.

Porn 101: Should You Incorporate ?

Now that you are getting into the adult entertainment industry you have to start considering the business aspect of what you are going to be doing whether that is being a content producer, director, performer, dancer or even a webcam performer. Instead of being paid personally you have the ability to form a company and have anyone paying you to pay that company instead. There are numerous advantages to having a company. Two of the best are to help lower your taxes and to increase your privacy.

There are several ways you can structure your business, i.e., Sole Proprietorship, Corporation, Partnership, Limited Liability Corporation, but which is the right choice for you. There are numerous reasons for choosing each entity, and there are associated tax consequences and benefits for each and therefore I recommend that you also speak to a CPA before deciding which to use.

Sole Proprietorship

By far this is the easiest and simplest structure. It only consists of someone setting up and operating a commercial business. This is also one of the least expensive types of structures to set-up. However, be aware, that even operating your business as a sole proprietorship might still require you to pay certain fees to register the business, secure a fictitious business name certificate and obtain other licenses that might be necessary from your county or city.

The only real advantage to a sole proprietorship is that it is inexpensive and that you are entirely in charge of your business affairs. However, on the other hand, you will also be personally responsible for all the business’s debts and liabilities. Which basically means that if something goes wrong, you as an individual will have to pay for it. Just closing the business will not relieve you from any liability.

Corporation

Corporations are the usual choice for most business in the United States, since this type of structure provides tax advantages as well as protection of your personal assets from the debts and liabilities of the company. Usually, corporations can be organized in two forms, C-corporation and S-corporation. However, in order to protect your assets, the corporation must be properly formed and maintained, otherwise it might be considered a shell and you will not be afforded the protections that you would be if the business was properly organized.

In order to properly form a corporation, California and most states require the drafting of Articles of Incorporation and payment of fees to Secretary of State in order to be recognized as an official corporation. You will also have to pay certain fees to the tax board of your state as well to maintain your corporate status. A corporation may be owned and operated by a single person, however, most involve several shareholders. Further those that own and operate a corporation have titles such as President, Vice President, Chief Operating Officer, Secretary etc.

There are numerous websites that can form and register your corporation for a fee, usually costing around $750.00. I strongly recommend that if you are going into the adult business, you seek the legal advice of competent legal counsel when you seek to incorporate. It can be quite beneficial to start a relationship with your “corporate counsel” early on. While the online services can do it cheaper and perhaps quicker, they are not usually operated by attorneys and can not give specific legal advice.

Partnership

This is also a viable option for your structure, however, it affords less protection that a corporation. However, before you can call yourself partners, you will need a Partnership Agreement. A Partnership Agreement really requires the advice and counsel of an attorney. There are however different types of partnerships and even different partners within the same partnership. There are limited liability partnerships which protects each partner from each other’s wrong-doing or negligence. There can be general partners and limited partners in a LLP.

You can have just a general partnership without the protection afforded by a LLP from your partners. Which means that each partner will be responsible for the debts and liabilities of each of the other partners with joint and severally liability. Which means that one partner might have to pay the debts of all of the other partners by himself/herself.

Your partnership might also team up with another corporation or partnership to conduct a joint venture.

Limited Liability Corporation

A LLC is a structure that has the benefits of a partnership, in regards to flexibility and the protection of personal assets from the liabilities and debts of the corporation. However, not all states recognize limited liability corporations. For those states that do recognize this structure, sometimes the protection afforded them is not as complete as the protection afforded corporations. The formation and the operation of a limited liability corporation can be very complex and difficult to understand. Failure to properly organize and maintain the LLC can cause you to lose whatever protections you might believe you have with this type of structure.

If you are going to have several partners in the LLC you will need to have a properly drafted Operating Agreement in order so that all of the rights and responsibilities of all of the partners are clearly spelled out. The one issue that most partners in an LLC fail to do is to have an Operating Agreement. The operating agreement is significant since it will usually cover issues such as what will happen if one partner wants to sell his/her part of the business. Or even what happens if one of the partners passes away. These are all issues that you must plan for when drafting an Operating Agreement as well as a Partnership Agreement.

Whatever business structure you choose, do so based on the advice of a lawyer as well as a CPA. Owning your own company can provide tax benefits and write-offs that you might not otherwise receive filing your taxes as a single/married individual.

 

Porn 101: Buying Website Domain Names – Part 1

Some of the most often asked questions I receive are about domain names. What domain name(s) should a pornstar, producer or webmaster purchase ? How many should be purchased ? Which ones are necessary and which ones are simply overkill ? Are the .NET, .ORG, .INFO, .BIZ and even the dreaded .XXX necessary to purchase and what if I don’t want to buy all of those domain names ?

These are all valid and important questions. My answer is buy as many as you can afford. Domain names are like buying property. Some are better than others. Some will be more valuable than others. And then there are some domain names you would like to purchase just so others cannot purchase them and set up a website to compete with your website.

Obviously, the most important domain name to purchase is the exact name that you intend to use to promote yourself or your business. For example, if your performer name is Suzie Suckems, you will want to purchase http://www.SuzieSuckems.com. If you have a business called Suckems Sex Toys you will want to purchase http://www.SuckemsSexToys.com. However, the issue then becomes do you really need SuzieSuckems.net, SuzieSuckems.org, SuzieSuckems.biz or one of the other many top level domain name extensions. The answer is simple, if you don’t mind someone else having the website SuzieSuckems.net then you shouldn’t purchase all of them. However, if you want to stop someone from competing with you then you should probably purchase all of them, or at least the more common ones.

What about .XXX ? There has been a debate raging in the adult industry about .XXX and the tactics that they have used in registering and promoting the .XXX domain names. My answer is rather simple, .XXX is really no different than .NET, .ORG, .BIZ or all the others. If you do not see the need to buy every single variation of your domain name then you probably shouldn’t buy it. However, if you are the type of person that will also purchase .MOBI, .TV and .US then purchasing the .XXX might be a good idea. It is a decision that should be based on finances and personal choice.

What about variations on your name beyond just the .NET, .BIZ and the others ? A lot of performers in adult entertainment also use variations on their name. A few years ago when ClubJenna.com was a popular pornstar website many other performers starting buying the Club variation as well. If you think that ClubSuzieSuckems.com is a domain name you believe that you can use then you should purchase that as well. Be aware though, if you are going to buy ClubSuzieSuckems.com then you should probably purchase the .NET, .BIZ and .ORG and so forth and so on versions as well.

What about SuzieSuckemsXXX.com ? Again, that is a variation that is popular with many performers. Often because they could not register their own domain name because someone else already had taken their main domain name and SuzieSuckemsXXX.com was the only domain name still available. Some performers also register the name variation Blog, for example, SuzieSuckemsBlog.com. As a performer you may want to have a free blog linked to SuzieSuckemsBlog.com and another paid membership site linked to SuzieSuckems.com. Again, this is a personal preference.

Also, if your name can be spelled multiple ways then you should also purchase the other spellings with the .COM, .NET, .ORG and .BIZ and the other variations. For example, Suzie Suckems can also be spelled Susie Suckems. Thus, you would also need to purchase http://www.SusieSuckems.com to stop anyone from registering that domain and starting a competing site to http://www.SuzieSuckems.com.

Why is it important to get all of these different variations ? The answer is also very simple – Google.com. The more that your domain name is a match to the search terms that are being used to search for you the more likely your website will come up on the first page of search results. This will result in more visitors to your website and possibly more sales. It is believed that the “organic” traffic that you will receive from a Google search is the best traffic you can get to your website. Those people are searching you out and are more likely to come back and buy.

If someone is searching for “Suzie Suckems” on Google and you own SuzieSuckems.com then it is more then likely your website will be on the front page of the search results. However, if other people own the .NET, .BIZ or .ORG versions they may also end up on the first page of search results. If someone is searching “Suzie Suckems porn” or “Suzie Suckems XXX” then those website variations have a better chance of making it onto the first page of the search results.

However, that is an oversimplification of how Google searches work. Google often changes their algorithms as to their searches however, the goal is to own the first page of search results so any traffic from Google will go to a website you own or a social media page you control. Is it easy to do this ? No, not at all. That is why there are consultants that are paid to provide Search Engine Optimization. However, if another webmaster understands SEO and has the .NET version of your website it would be easy for that person to compete with you. Thus, it is highly recommended that once you have your blog or website designed, built and launched that you work with an SEO expert to increase your Google traffic.

In conclusion, make sure you buy as many relevant domain names as quickly as you can once you enter the adult industry, whether if you are a performer or as a business. How many top level variations and extensions you should purchase really comes down to finances. Buying multiple domain names with multiple top level domain extensions can get expensive very quickly. For example, I have known performers that have spent upwards of $1000.00 in buying their own domain names. However, it is an investment in your career. I can also tell you that spending $1000.00 to register numerous domain names is much less expensive then it will cost to get a domain name back once someone else buys it out from under you.

And remember, if you are worried about your privacy and real name being linked to your website either use a privacy protect service when registering your domains or register the domain names in your company’s name, if you have one.

In Part 2 I will be covering what happens if someone else has already bought your domain names and you have to fight to get them back.

Porn 101: Copyright, Piracy and the DCMA

One comment I hear the the most often is from new webmasters and content producers complaining that their content has been stolen and posted on a tubesite/torrent/message board. Their letters almost always have a desperate tone since the webmasters/content producer has tried everything possible to ask the infringer to take the content down only to be stonewalled or ignored completely. Obviously, it is quite upsetting to know that all their hard work is simply being stolen and posted by others to enjoy for free.

Before I can discuss the Digital Millennium Copyright Act, it is first important to discuss copyright. Volumes upon volumes of legal treaties and text have been written about copyright. It is strongly suggested that anyone that produces content to read everything they can about the protections that having a copyright registration can provide. It is simply too voluminous to discuss in a blog post here. Google is your friend.

However, it is vitally important that as a content producer that you copyright all of your content. Sending your content to the U.S. Copyright Office is rather easy. Usually my clients do it themselves. It is also rather inexpensive depending on the volume of content you want to copyright. You can even do it online through the U.S. Copyright Office’s website ( Please see: http://www.copyright.gov/eco/ )

The fee is a mere $35.00 and you can even upload the content directly to the copyright office. You do not even need to go to the post office ( Some types of content does require a hardcopy to be mailed in ). The U.S. Copyright Office even provides a step by step tutorial on how to register your content online ( Please see: USCopyrightOnlineSubmissionTutorial ).

No content producer/webmaster can complain that his/her work is being copied and distributed for free on the Internet if they have not taken the time to register their content and receive the all the protections a registration can afford. Most circuits within the federal court system REQUIRE a completed and returned federal copyright registration BEFORE you can even file a copyright infringement lawsuit against another party. Some circuits just require that the registration has been filed but not completed. Be aware though, if the U.S. Copyright Office rejects your content registration for some reason and you have already filed the lawsuit the court will more than likely dismiss your case.

Therefore, it is imperative that before you release your content to the world that you take the time to register the movie/scene/website content with the U.S. Copyright Office. There are vast differences as to what you can recover in court between having a preregistered work and work that is registered AFTER someone steals it. Preregistration can make the difference between hundreds of thousands of dollars versus not having a lawsuit at all. If your content is registered you are entitled to statutory damages under copyright law. If it is registered after the infringement you will only be entitled to “actual damages” ( Please see:  http://www.copyright.gov/title17/92chap5.html )Which means you have to show how much money you actually lost because of the infringement. To do so you will need to hire a copyright expert witness to testify (you cannot testify as to how much you lost) which will cost you an average of $5,000 to $20,000.

The DMCA is another rather complicated law that is not easy to understand, even for lawyers. However, if you are going to produce content and/or be in the business of online content management and websites, you need to be familiar with it ( Please see: http://www.chillingeffects.org/dmca512/faq.cgi ). Like copyright law, volumes have been written about the DMCA and the more the you know the better you will be able to handle theft of your content.

Before you can simply file a copyright lawsuit for an online copyright infringement, you must follow the procedures set forth in the DMCA as to providing the possible infringer with notice of their infringement ( Please see: http://www.chillingeffects.org/dmca512/question.cgi?QuestionID=130 ). That website will then give the infringer your “DMCA takedown request” and the infringer then has the right to send a DMCA counter-notification saying that they are the real copyright holder. Thus, you may now see the importance of having your content registered with the U.S. Copyright Office.

Assuming that you have not registered your work with the U.S. Copyright Office, this is where you are stuck. However, having the registration in hand you can easily show that you own the content. And further, that if it is not removed you are ready and able to file a lawsuit over its illegal use. Be aware though that even the most basic copyright infringement lawsuit will cost upwards of $100,000.00 in fees and costs to litigate.

Depending on the amount of content you produce sending out DMCA take down notices can be overwhelming for a small content studio or webmaster. My advice is to hire a company such as Take Down Piracy to do so for you or your company ( Please see: http://takedownpiracy.com ). Since their inception they have sent nearly 11 million DMCA take down notices to all types of websites including Google. That is no easy feat but they do have an automated process that will not only send out the DMCA take down notices but they will also monitor the Internet for illegal infringement of your content. It is far more cost effective to have Take Down Piracy do this then doing it yourself or hiring a lawyer to do it.

Obviously I could spend pages discussing this one topic, however, the most important aspect to understand is that if you are going to produce content and put it on the Internet for sale you MUST register that content with the U.S. Copyright Office before you post it to your website. Also, hire a take down service such as Take Down Piracy to monitor your content and send out notices on your behalf. The actual DMCA take down notice has to be rather specific to have any legal validity. A simple email asking them to take down your videos will not suffice under the law. The combination of preregistering your work and using a take down service will help in protecting your content. However, no system is fool-proof. Your content will still get posted and it will still be infringed. That, unfortunately, is a fact of life with the Internet.

Whether you have a membership website, a free blog, a Clips4Sale store or distribute DVDs, protect your work and get it registered!

 

Porn 101: Choosing An Agent – Part 2

hiremeIn part one of this article ( Please see: https://adultbizlaw.com/porn-101-choosing-an-agent/ ) I discussed whether a performer should choose a bonded and licensed agent, whom those agents are and what does a proper talent agency contract look like. In this article I will discuss what difference moving to and living in Los Angeles can have to a performer’s career and what your agent can and cannot do in regards to their representation.

Moving to Los Angeles?

The decision to move to Los Angeles to pursue a career in adult is not an easy one. Los Angeles can be an expensive area to live. Rents are usually higher then in other non-metropolitan areas ($1000-$3000 per month for a 1-2 bedroom apartment). Food and dining out can be expensive in Los Angeles as well. Obviously anyone can live anywhere on a budget but for the most part it will be more expensive to live in Los Angeles then most places.

However, not living in Los Angeles will likely mean that the performer will be booked less than a performer that lives in Los Angeles. Living in Los Angeles means that you are more available to work. If a performer lives in Oklahoma and a director/producer wants to cast her in a scene, he/she would have to wait for the performer to come to Los Angeles. That is likely not going to happen, unless the performer is a “pornstar.” If another performer “flakes” on the scene then the producer/director will likely call the agent and ask for a replacement performer to be sent to set immediately. A performer not living in Los Angeles will not have the opportunity for that job. Agents will often push local performers more so then those that live out of state.

A performer living in Los Angeles will usually be booked more since he/she would be more readily available to be booked. Also, living in Los Angeles will allow that performer to meet and develop relationships with more producers/directors/talent in the industry. The more people a performer knows the more opportunities he/she usually has to work. Many new performers think that once they get an agent their work is done. From talent I have talked to over the years it seems as though they believe that their agent is going to be “pounding the pavement” looking for work for them. That is not usually how it happens.

Directors/Producers usually decide on who they may want for a particular movie or scene based on physical attributes ie., hair color, race, breast size or willingness to perform a particular sex act ect. That director/producer will go to the various agent’s websites looking for performers that fit that requirement. When the director/producer finds such talent he/she will starting making phone calls to the agent to inquire into the availability of a particular performer. The job will usually go to a local performer since the producer has less worry about a local performer showing up on the date of the shoot.

An agent does not and cannot sit on the phone calling every production company with potential work for their clients. Some agents do send out email blasts and some even still do what are called “go-sees.” Other than that performers should not expect much more from their agents in the way of promotion. That is something talent has to do for themselves either in person who using social media such as Facebook and Twitter. Many performers are also now hiring a publicist to also promote them within the industry. This is something that I highly recommend. A good publicist will be able to secure appearances and interviews that may lead to more work.

Obviously, living in Los Angeles and meeting the directors/producers will increase a performer’s circle of friends and increase their potential chances for work. However, living in Los Angeles does not guaranty a performer more work, just the opportunity to meet those people that might offer them more work. Moving to Los Angeles is a decision that has to be considered carefully. The increase in living expenses might off set the amount of income earned through any additional work that the performer receives. As a general rule though it is my experience that performers living in Los Angeles do get booked more often then those that are not.

What Can an Agent Legally Do ?

On January 24, 2009 an article I wrote titled “Balancing Talent Agents, Performers and Producers” was published on XBiz.com and in their XBiz World Magazine (Please see: http://www.xbiz.com/articles/104087/fattorosi ). Even though this article is over three years old many of the things I wrote about remain true. Below are some excerpts from that article. I would suggest that anyone reading this article also read my original article linked to above.

Kill Fees: Are They Allowed ?

Producers can charged performers kill fees in case the performer does not perform as required by the producer. Kill fees are a legally confusing situation. If a performer flakes on a shoot, the producer will suffer damages. A kill fee is a contract term between the producer and the performer, not between the agent and the performer.

Kill fees cannot be used by an agent to punish a performer for not performing the scene. Also, a kill fee cannot be charged to a performer unless they understood before accepting the job offer that a kill fee is part of the contract for taking the job. A performer can instruct their agent not to book them for any producers that require kill fees. Also, a performer should request all information pertaining to kill fees prior to accepting any scene and that information should be in writing.

If an agent attempts to charge a performer a kill fee without having the performer accept the kill fee as a term of that employment, the agent would be violating their duty to the performer and that performer could file a Petition to Determine Controversy to have any charged kill fees refunded as well as possibly challenging the underlying contract with the agent. Thus, agents charge a kill fee at their own peril.

Cashing a Performer’s Check ?

Some agents also request that performers sign an agreement called a “Power of Attorney” so that the agent can cash and deposit into their own bank account the money paid to a performer. This is done for two reasons. The first is that the agent wants to get paid his/her agency’s fees. The second is that many producers are now refusing to pay talent directly and would rather pay the agent. I assume that production companies believe this provides them some sort of insulation against liability to the performer. This is simply not true. None the less, performers are routinely having their checks sent to their agent and then they are paid by the agent.

If you give your agent the power to cash and deposit your checks that is an individual decision. Some performers would rather have the agent take care of paying themselves. Others rather control their own finances and pay the agent later. If you do sign a “Power of Attorney” realize that you can revoke the it at any time in the case of abuse by the agent. However that must also be done in writing. I would suggest that any performer that wants to revoke this to do so in an email to their agent so if necessary the performer will have evidence of it later. If the agent continues to cash their check without written authorization they will be violating their talent agency agreement with the performer as well as possibly committing the crime of forgery.

What if an Agent Violates the Contract ?

If a performer feels as though an agent has violated the talent agency agreement they do have legal recourse. However, it is limited. A performer cannot file a lawsuit against an agent. The only legal claim that a performer can make against an agent is to file a Petition to Determine Controversy with the California Department Labor Standards and Enforcement. That department has exclusive jurisdiction to hear and decide all cases between talent and agents. On occasion, the DLSE does publish significant decisions that relate to cases between talent agents and performers. (Please see: http://www.dir.ca.gov/dlse/DLSE-TACs.htm )

A performer can file the Petition themselves, however it is better to retain a lawyer to handle any claim against a talent agent. However, be aware the process of filing the Petition to the final decision of the DLSE may be in excess of one year. The state of California’s courts and other departments are underfunded due to budget cut backs and cases now are taking much longer then usual to be resolved. It is often better for the performer to negotiate a resolution of any issue with their agent if possible.

Conclusion

Overall, it should be noted that an agent works for the performer and should be conducting business in a way that is in the best interest of his client. Often this is forgotten and at times it seems like the talent is working for the agent. Performers must remember that an agent also represents dozens of other performers with a limited staff and cannot always provide the personalized service that they wish they were receiving.

Performers must take responsibility themselves for finding work as well as promoting themselves. Hiring a publicist, using social media and attending industry functions are all ways to market their services. As the industry continues to shrink and less work is available the scenes that are remaining will go to those that work the hardest and smartest to get them.

 

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