Monthly Archives: March 2016

The Meaning of Consent: Tasha Reign

by Rich Moreland, March 2016

Tasha Reign is an outspoken pornography feminist whose political voice is ever present. Having entered adult film in 2010 at age twenty-one, she finds time to write about the industry, most recently for the Huffington Post, and when the opportunity arises, to crossover into independent film. We talked at the 2016 Adult Entertainment Expo.

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“The situation with James and Stoya is very good for our industry, and also for every industry, because it has enabled a discussion that I don’t think would be there otherwise.”

Those are the words of Tasha Reign. We are sitting in the AVN media room at Vegas’ Hard Rock Hotel.

Women’s Rights

Tasha believes Stoya has demonstrated great courage in speaking out [about her abuse] and reminds us she isn’t “the only woman who has had that happen to her and not had her voice heard.”

However, Stoya’s industry status renders her “a privileged person,” Tasha admits. In fact, James Deen’s former girlfriend is also “a celebrity” outside adult film.

“She’s educated, smart, well-spoken, and has a strong voice,” Tasha says.

Though Stoya’s fame helps to channel her message, consent remains a broader issue for sex worker and women’s rights. It’s something men must address.

“We live in a society based around patriarchy,” Tasha insists, which she wants to fight by speaking up all women.

Within the adult film industry, having sex on camera does not diminish performers or the rights that they have, she says. But not everyone gets the point “and that is why so many women have not spoken out.”

For her part, this formally educated professional has taken on the activist mantle to support women.

Tasha during our interview

Tasha during our interview

The Line is Blurry

When she began her venture into porn, Tasha Reign signed with LA Direct Models, a well-known talent agency. Good representation can guide a career and fortunately the native Californian has avoided any Stoya-like situations.

But, her limits on the set have been “crossed in ways that were more subtle.”

“Sometimes it’s difficult to identify when they happen,” she says. “It’s something you think later, ‘Wait, maybe this should have been more professional.'”

Those experiences have influenced the choices Tasha has made in moving her business pursuits forward.

“Whether I have somebody with me at all time at AVN like my security over there (she nods at a blue-suited gentleman sitting just to our right whose presence is meant to leave an impression) or whether it’s shooting for myself, I want to control every aspect of [my career].”

For the record, Tasha owns Reign Productions, writing and directing her own content.

She reiterates what others have told me. Talent should be educated about what to expect in adult entertainment.

“I think it would be great to put out a website where new performers can go and [learn] ‘Oh, this is how porn works. I am the boss. I call all the shots. Nobody should be crossing lines on the set.”

To underscore how important this is, Tasha adds, “Nobody should be grabbing you and nobody should be having sex after you say ‘stop’ even if you consented prior to that.”

“But for some reason, I have no idea why, that line is blurry,” Tasha says. “It’s not blurry to me and it’s not blurry to any woman.”

Own Your Choices

Fair enough, so what should everyone know about shooting sex and consent?

“Sometimes when you perform, you’re going to push your limits. You might be doing anal for the first time or a DP on camera and you’ve never done that before,” Tasha begins.

Referencing that her on-camera episodes may not be what her personal life is about, the UCLA grad concedes she had to learn to “slow-down” the action.

Communication is important.

Sex is a power exchange and is not fun if you have equal power, she believes. “That’s okay. What’s not okay is when you say ‘no’ and they continue. That’s rape.”

It’s a “fine line,” Tasha admits, and “male talent, if they crossed limits” may “not even realize that’s the situation.” So, awareness is also important.

Tasha generalizes the circumstances to civilians, suggesting that in the work place men might “hug their co-worker or put their hand on their waist or smack them on the butt in a playful, friendly manner they might do with a friend.”

She doesn’t understand “how they would feel that [type of behavior] would be okay.”

To illustrate her point, Tasha comments on the message she sends her fans when standing with them for photographs. It’s particularly applicable this week since we are at the industry’s major trade show.

“I’ll have someone tell them they must have their hands at their side. There’s no touching whatsoever. I will pose around you because that’s what I feel comfortable with.”

However, though she is comfortable with her boundaries, Tasha does not mean to restrict another girl might find appealing.

“I think that if a woman wants to have a gang bang with an entire football team . . . or if she wants her friends to grab her” that’s her choice and “you have to own your choices and be conscious about what you’re doing.”

Tasha during our 2014 interview

Tasha after our talk at the 2014 AEE

A Feminist Can Love Pornography

Tasha Reign points out a misconception the public has about adult film which she believes stems from a lack of “media literacy.”

Often people don’t understand that what they see in a sex scene is consensual among the talent, particularly if the shoot is rough. It appears the woman is being abused.

In particular, this is often the opinion of anti-porn feminists who know nothing about adult film. They conclude the scene was rape, when that is not the case, and, worst yet, never bother to talk with the models to get the real story.

“You can’t judge a consensual sex scene just because it was a rough scene. That’s not the way sex [in the industry] works,” Tasha states.

On the other hand, there is a bright side. “You can be a feminist and still love pornography and sex work,” Tasha declares, then turns her attention to an ongoing paradox that has politically agitated feminism for years.

“How in the world could you [as a feminist] condone having women make choices but then say they can’t have the choice to have sex for money? It makes no sense.”

As our allotted minutes run out, the performer/writer/producer/director follows up with one of her pet peeves.

“People like to scapegoat porn. If there’s anything they can put on you, they will. It’s always baffling to me. I’ll never get used to it. Jessica Drake in a panel this last week said, ‘You know what? Now that I’m older I realize it says so much more about them than it does about me.'”

Smiling, Tasha Reign concludes.

“And it’s one hundred percent true.”

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You can follow Tasha on twitter and visit her website here.

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The Meaning of Consent: Allie Haze

by Rich Moreland, February 2016

Adult film has it’s stars, and then it has it’s superstars. Allie Haze is one of the latter and destined for the AVN Hall of Fame. During the recent Adult Entertainment Expo in Las Vegas, she gave me some of her valuable time. We found a quiet spot beyond the bustle of the convention for a lengthy interview that was a pure delight.

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My impression of Allie Haze is strength, self-assurance, and a sweetness that escapes description. What’s more, she understands the business of adult film.

“This is more than just a job because I’m selling myself. What you’re putting out there is you, your heart and your soul.”

Considering that statement, let’s delve into things that can happen on the set that might not always go down to everyone’s liking.

Allie Haze Photo Courtesy of Smash Pictures

Allie Haze
Photo Courtesy of Smash Pictures

The Sinkhole

Like others I have talked with, Allie does not believe consent issues pervade the industry, but she does recognize they affect the business with a collective concern.

She characterizes the James Deen/Stoya incident as “a sinkhole within us. It’s a very small part of a very big world that just happened to fall in.”

Having said that, the native Californian concedes that the allegations and resulting opinions are evolving into “a monster that is damaging our community.”

Essentially, James and Stoya, are “two powerhouse individuals” who have shaped the modern porn landscape, Allie says. They are among “those top twenty people” the public regards as important adult film voices, “the people who make the difference, the ones the media actually gets to hear.”

So, are there real issues with consent in porn?

For some people, yes. But, Allie believes, “it’s a case by case basis.” In other words, it differs based on personal preferences and the ability to understand the demands of porn.

“I could be twenty-five and be super manipulative or I could be eighteen and be smarter than the twenty-five year old,” she explains. “It has nothing to do with age. It has to do with your maturity level and there is no way to determine that.”

Photo courtesy of Allie Haze Twitter

Photo courtesy of Allie Haze Twitter

Know the Rules

Though she has a history of “good choices,” Allie supports mentoring performers because entering porn can be scary.

For example, she says, just getting started is challenging. Flying in from out of town and meeting an agent for the first time is often a bewildering and anxiety-producing “life changing event.”

Throw in that first day on the set with its consent issues, and a girl can fall into more than she expected. So it’s important to ask, “What are the rules of what you are getting into?” she says.

What’s more, the award-winning actress warns anyone thinking about shooting porn that “in less than six months your whole family” will know what you’re doing and you should understand the possible consequences of your decision.

Are there ways to guide newbies, particularly if they are having problems?

“I hope the older generation [of performers] would take them under their wing,” Allies replies.

But there is another vital point the stunning brunette wants to make.

Allie recalls her first job in fast food and the “food workers card” she secured after taking an eight-hour class. She endorses a similar practice for adult because performers do not have a union to address these concerns. The closest organization available is APAC (Adult Performer Advocacy Committee).

In her view, it would work like this. “When we have our I.D. [for age purposes] and [blood] test [results] we also need our permit card. No matter at what age you enter the business, you should have to go through a class, learn about your body and what you can say ‘no’ to.”

The former minister’s wife completes her thought with a strong affirmation about the process. “It also has to be industry funded.”

Teamwork

Allie Haze is not gun shy and it works to her advantage.

Photo Courtesy of Smash Pictures

Photo Courtesy of Smash Pictures

“I’m a little feisty and I never felt like I could not say no.” However, she is familiar with “meek, beautiful, and intelligent women” who have shared stories in which it was “more of a hassle to say ‘no'” than to just go along.

Nevertheless, Allie believes, the onus is on the performer to speak up. “No one is at fault because you made that decision [to say nothing]. If you had enough time to think of all of that, you had enough time to say ‘no.'”

The multi-talented performer shared a personal experience.

Once during a rough scene, a male model spit in her face “in the heat of the moment.” Allie stopped the shoot. She didn’t mind the choking and the slapping, but spitting was out.

A newcomer at the time, Allie had discussed her limits before the scene began, but really couldn’t blame the guy because she forgot to mention that spitting was a ‘no.’

“As much as I was frustrated and really offended, I told him that I know I didn’t say it and we’re not going to stop the shoot. Don’t lose your mojo, just don’t do it again.”

She apologized to the director and he said, “No, you’re good.”

Allie advises female performers to act with care. By screaming at the guy, his arousal level is crushed. “Now it’s his fault and nobody gets a paycheck and we have to come back the next day.”

“Although you’re entitled to an uproar, this is a career so there’s a professional way to handle those bad situations. You’re working as a team.”

Courtesy of Smash Pictures

Photo courtesy of Smash Pictures

A Way Out

Allie comments that Kink.com, where she has completed some twenty BDSM shoots, can create stressful situations. Safe words are important on their sets.

Her personal Kink anxiety centers on electricity.

“I wanted to challenge myself so I did their electrosluts site. My fear of electricity made me cry. I was gagged. I wasn’t in pain. Nothing was wrong. But once I started crying they cut the camera.”

An important lesson was learned.

Girls can communicate when fears are aroused. At Kink, crying, which is usually not related to physical discomfort, is a way to stop a scene.

It’s a matter of figuring out what behaviors companies consider sensitive.

“If you know what the rules are when cut happens” you’re on top of things, Allie declares. But always remember that “stop or cut” means lost footage. So a degree of common sense kicks in.

Having said that, Allie is adamant about feeling safe.

“No one should be in that situation where they feel like they need to find an escape or a way out. That’s what breaks my heart, that’s what makes me sad.”

In the middle of a hectic day, Allie is still cheerful and willing to chat

In the middle of a hectic day, Allie is still cheerful and willing to chat.

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Through it all, Allie realized that when the James Deen/Stoya incident got out, women in porn were going to be portrayed as victims.

She wants everyone to know she is not a victim even though she’s “done a lot of interviews where they think that.”

Well, this is not one of them, I’m delighted to say.

For her final thought, Allie Haze proclaims with sharp certitude, “I’m happily a seven-year veteran and still going strong. I would never change it for the world.”

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The Meaning of Consent: Derrick Pierce

by Rich Moreland, February 2016

Not all the superstars in adult film are women. Men have their place.

Derrick Pierce is a multi-talented performer whose honesty and good nature is well-respected in the business. We’ve talked before and here is much of what he said during our latest chat at the 2016 AVN convention.

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Photo courtesy of Adam & Eve and AVN

Photo courtesy of Adam & Eve and AVN

When male performers are asked about consent, the response is pretty unified. The guys want to make sure everyone is on board with likes and dislikes before a scene begins.

Sometimes, they will tell you, limits are defined by studio protocol.

Veteran performer Derrick Pierce offers this assessment.

“[Studios] like Hustler or Wicked have their own set of guidelines that typically supersede the level of what we as talent would like, meaning that even if talent is okay with certain things [and] the company isn’t, we have to abide by what the company wants.”

In the case of less restrictive studios, performers will work out their limits before shooting commences.

The Side of Caution

If he is paired with a girl he doesn’t know, Derrick wants to find out what she “is cool with” so boundaries can be set. For example, she might say, “I’m fine with hair pulling, spanking, just don’t slap my face.”

He is there for her, Derrick insists, and will tell his co-star, “if there is anything that you don’t like and you want to stop, just give me a couple of hard squeezes on the leg or the arm and I’ll adjust it so we don’t have to stop.”

Derrick Pierce

Derrick Pierce in the media room

Fortunately, Derrick is aware that after a scene girls sometimes have doubts about what they let happen, prompting him to “err on the side of caution.”

“I’d much rather female talent walk away from a shoot [thinking] ‘I probably could have done more’ than ‘Whoa, that was way too much!'”

Aside from his resume of vanilla shoots, Derrick is an experienced BDSM performer. In bondage scenes, establishing limits is imperative.

He cites Kink.com, where he appears frequently, as a studio that is “very, very strict” about their shoots. They do give performers “a lot more latitude, but with more latitude come more rules,” Derrick adds.

In fact, there is a two-page document on a girl’s limits–what she is fine with and what she is not–that performers hired as dominants “now have to read” and “sign off” on. It’s specific, he says, “probably thirty different items” that include spitting, marking, anal play, and the like.

Derrick notes that the document also has a comment section. A girl might mention “no marking” if she has a vanilla shoot coming up, or “go for it” because her next couple of weeks are open for recovery time.

Finally, everything is “read, signed, counter signed” before going to a production manager who “oversees the paper work.” Next, the webmaster and director also sign off on the guidelines. “Kink is so through it’s ridiculous” Derrick says. (And getting more so, apparently. The March issue of XBIZ reports the company is refining its consent policy.)

“They [the performers] know what they sign up for when the go to Kink. You can’t walk away saying they’re negligent.”

He mentions that the San Francisco studio will give a model partial pay if she decides to bail on a shoot. “They’ll pay you half your rate. I don’t know another company that will do that.”

The Elbow Test

I bring up new girls and possible problems that arise. Are they vulnerable?

“Absolutely!” Derrick declares. “How do you say ‘no’ to things you don’t know you’re okay with or not okay with? Because I’m an experienced performer, when a girl says, ‘I’m cool with everything’ I’ll say something ridiculous like, ‘so you’re cool if I elbow you in the face?'”

She’ll back off, of course, leading Derrick to respond, “‘You do have limits, then?’

That leads to an awareness dialogue that is initiated with, “Well, what do you like?”

“You have to lead them,” Derrick adds, because they don’t understand “the full spectrum of what ‘I’m okay with everything means.'”

Getting through to a girl belongs to the male talent, Derrick believes.

“Help those girls out because they’re not really familiar” with what is expected of them and the shoot. From there the directors step in. Even if a director says little, especially if it’s BDSM, Derrick still assumes responsibility.

“At the end of the day, I’m [either] going to be the one taking care of them, making sure they are okay, or be a part of them going too far,” something he wants to avoid.

“I’d much rather err on the side of caution for the first time.” He lets subsequent shoots determine if the girl wants to go harder.

Derrick with superstar Dani Daniels

Derrick with superstar Dani Daniels

The Eyes Don’t Lie

In the final analysis, consent is all about conversation.

“I think that when two people can connect, even if it is on a minimal level, it helps the scene.”

He will ask a co-star, “What puts a smile on your face?” knowing the answer will subtlety show up on film.

“The camera picks up those things. The eyes don’t lie. If you really watch a girl you can see when she’s not okay.” That’s important, Derrick mentions, because “sometimes the cameraman is so involved with other issues, he’s not looking for the intensity or intention of the talent.”

“I always take that responsibility, or try to take that responsibility, to make sure I’m always checking in if we’re doing something out of the norm.”

Then he adds with a smile, “Even if we’re not, girls get tired.”

His suggestion for fatigue? Take a break and resort to a little oral sex. “No director or cameraman is going to say ‘whoa’ [to that],” he chuckles.

It’s a trick top-notch male performers keep tucked away for the right moment.

In adult film, the value of the veteran male performer cannot be overstated. That is why their circle is so small. The best work all the time.

Once you “learn the game,” Derrick Pierce says, “the better you’ll be for talent. The girls will want to work with you because they know that you’re looking out for them.”

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The Meaning of Consent: Ela Darling

by Rich Moreland, February 2016

I have interviewed Ela Darling previously and can attest that this twenty-nine year old, who holds a Master’s Degree from the University of Illinois, is insightful and well-spoken. Like several other women in the industry, she identifies as a feminist.

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Photo courtesy of AdultDVDTalk

Photo courtesy of AdultDVDTalk

An articulate porn veteran who entered the business in 2009, Ela Darling is known for her girl/girl and bondage shoots. Recently she added boy/girl and the “pleasure of working with excellent men,” she says.

However, Ela has a couple of tales from the dark side where consent was conveniently abandoned.

More Experience with Women

“There was one person who pushed some boundaries with me [and] that was largely due to his unprofessionalism. He was drinking on set,” Ela recalls.

His behavior was “atrocious” and his rude behavior did not stop there. He slapped her off camera.

“That’s the worst I had with a dude,” she says. “I’ve actually had more experience with women crossing my personal boundaries.”

The university graduate remembers “a very prominent performer” with whom she worked a standard girl/girl shoot.

“I told her, ‘Do whatever you want, just don’t slap this side of my face.’ I had a bad tooth. It was very painful and I had a dentist appointment the next day. First thing she does when the camera starts is slap me exactly where I told her not to.”

Ela remembers another shoot involving a personal friend who is also a director. She has a bit of a reputation for ignoring boundaries.

In the three-way scene, “basic hygiene” was shoved aside. Fingers moved from Ela’s backdoor into her vagina, much to her disgust.

There’s is an infection risk with that type of behavior, she remarks, pointing out that she is careful to voice those limits before filming. “Just respect my personal safety.”

This time she was ignored.

After the shoot, Ela’s friend was driving her home and the conversation turned to business.

“We were talking about tough times working with some people in the industry,” Ela says.

Her friend referenced new girls and their “stupid boundaries” which included butt to vagina objections. “Whenever they say that, I just do it anyway,” the director commented.

Ela was astonished. “This is someone who was my friend.”

Having recounted these episodes, Ela Darling is quick to reassure me that consent issues are not widespread within the business. In fact, she can “count on one hand all the people I’ve had problems with.”

Ela and all girl model Pepper Kester Photo courtesy of Ela Darling

Ela and all-girl model Pepper Kester
Photo courtesy of Ela Darling

A Tricky Subject

How does this feminist performer view consent?

“It is a very tricky subject,” Ela says, because consent in porn is different from what everyday people talk about in their sex lives.  For example,  she says, imagine a woman going to an apartment to have sex with someone she didn’t really know or even like, for that matter, carrying a list of all the things she had to do while she was there.

“To a normal civilian that sounds like a really fucked up experience. But that’s the job you’re getting paid for. That’s what we’re signing up for.”

Paperwork finished, Ela ready to shoot a BDSM scene for HardTied Photo courtesy of Ela Darling

Paperwork finished, Ela is ready to shoot a BDSM scene for HardTied
Photo courtesy of Ela Darling

In other words, the “nuances of consent in porn” involve “a lot of grey areas,” Ela concludes.

Because things get overlooked on set, “it is imperative that we outline the things that are actually acceptable and those that are not,” she explains. “Have very detailed conversations before each scene and emphasize those things that are horrible.” Take the attitude that  “if you do this, it’ll ruin my whole month.”

Ela points out that shoots involve having two IDs, filling out 2257 forms (safeguards against child porn) and model releases, checking health tests, and taking “pretty girls” (stills used in marketing). Among all of that, performers must remember to come armed with their limits, which include “your hell yes’s and your hell no’s” and be prepared to talk everything out.

How should situations that violate limits be handled?

Go to the director, the fetish model urges, whoever is in charge, and if no one listens there is another avenue a model can take, talk with APAC (Adult Performer Advocacy Committee).

“I’m on the board of APAC and I hope that people [feel they] can come to us.”

Someone is Going to Listen

APAC is exploring initiatives to improve the workplace. One is a mentorship program that matches veteran performers with newcomers.

“Give new people someone to talk to so they know there’s someone that’s going listen to them,” the native Texan says. APAC believes veterans and newbies alike will benefit.

Another APAC idea is the “the stamp of approval” given out to studios. The hope is that agents, producers, and others will become a part of it.

Because the industry “caters to teenage girls barely hitting eighteen,” Ela declares, “every agent is ethically responsible for new performers.” They are adults, yes, but “lack a lot of life experiences.” These fresh faces don’t understand the business culture nor how to “voice their concerns with a boss.”

Then there is the supply and demand issue, a problem for everyone since studios are shooting less these days.

“When they come in they are told there’s a lot of performers and there’s not a lot of work so you better be really good or no one’s going to want to book you. You’re expected to do everything possible to keep getting booked.”

That is a set up for ignoring boundaries.

Having said that, Ela believes performers should be aware that they can say ‘no’ anytime and leave anytime.

“Your body is your responsibility, but it is also your business. You have to put yourself first.”

Nevertheless, she emphasizes that “the ownership [of ethics] lies with the people who have been in this industry for years and years.” They have a responsibility to new performers.

Ela gives me a final shot on the day we talked.

Ela poses for the camera right after we talked

That Threshold

So in the end, are we saying that unsavory things happen in porn because that’s just the way it is?

“I honestly think we all do sometimes,” Ela begins. “It’s the nature of the work.”

But there is a threshold, she insists, that once crossed turns into real disrespect. Learning to handle that is imperative to survive and flourish in the business.

Every job has people and things a person doesn’t like, Ela concludes. “Every day on a porn set isn’t going to be the best day ever. It’s your job and you have to determine for yourself where that threshold of acceptability is. Stick to it and hold everyone else to it as well.”

Before we close, Ela Darling adds a final thought that references her feminism.

Often asked if she is empowered by her job, Ela believes porn is held to a “higher standard” in the workplace than other more mundane professions.  In other words, performing in adult movies has to be defended. “I guarantee you they don’t pose that same question to baristas, waitresses, or accountants.”

My personal thought is that people do not envision porn as a “normal” career because it exposes our greatest vulnerability, our sexuality presented as naked truth and recorded for all to see. As a result, there must be some reason, other than money, why performers engage in sex work and we are mystified by that reality.

 

 

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The Meaning of Consent: Casey Calvert

by Rich Moreland, February 2016

Casey Calvert is popular with porn fans, having begun her career as a fetish model.  The 2012 University of Florida graduate entered the business at twenty-two, older than most girls who seek a career in adult entertainment.

Highly respected among her peers, Casey is active in the industry support group,  APAC (Adult Performer Advocacy Committee).

We talked recently at the Adult Entertainment Expo in Las Vegas.

CZHKeriUsAA6qjR*          *          *

Casey Calvert reflects what performers understand, “You know what you signed up for when you show up on the set.”

The native Floridian explains that an informed performer is aware of what is expected and who her co-stars are that day. However, that doesn’t mean unplanned or uncomfortable incidents don’t happen.

“If something changes, whether it’s somebody asking something additional of you or [an incident happens] by accident, you say something and the problem gets resolved.”

Feeling Violated

Casey doesn’t want to get into the James Deen/Stoya controversy which she refers to as “a big scandal” in the business. Understandable and that’s not the focus of my question. But, I do want her take on how a newcomer should handle a similar situation that might occur on set.

“It’s one of the things we’re working on as an industry, especially now that people are talking about how do we make new girls feel comfortable speaking up and how do we make sure they know it’s okay [to do so.]”

Then the four-year industry vet touches on the second point everyone seems to make.

Photo courtesy of Casey Calvert

Photo courtesy of Casey Calvert

“Nobody wants them to go home feeling violated or upset. Everybody wants them to go home feeling good.”

Casey retreats a bit when I suggest that after a questionable moment during filming, some girls may believe they have been subjected to inappropriate sexual behavior.

“Right, but that doesn’t mean they got raped either. Getting raped is if you say ‘no’ and they say ‘yes.'”

Does that happen?

“Not that I’ve ever heard of,” the superstar replies. “It has not personally happened to me. I’ve never heard a story in recent history at all where that has happened on a set with anybody.”

Having said that, she clarifies her position.

“There’s a difference between I say ‘no’ and you try to convince me to say ‘yes’ and I say ‘no’ and you take it anyway.”

Photo courtesy of Casey Calvert

Photo courtesy of Casey Calvert

Getting It Fixed

Has she been on sets where this has happened?

Casey hasn’t, but she comments, “I’ve been on shoots where I’ve had to say ‘something’s wrong’ and it gets fixed.”

She measures her words, declaring that she “can’t be mad” because “the person who has created” the problem straightened it out.

Due to the nature of a business that shoots thousands of scenes a year with a talent pool that is in constant flux, Casey realizes questionable moments do occur.

Referencing the male performers booked to shoot with her, she says, “They don’t know me. We’re acquaintances. This is not my boyfriend of ten years who should be fantastic at reading my body language and should know the things about me. This is essentially a stranger, so I can’t fault that stranger for not knowing something if I don’t tell him.”

Photo courtesy of Casey Calvert

Photo courtesy of Casey Calvert

Is being a superstar an advantage that causes everyone to back off?

“Oh, yeah. For sure. I fully admit I’ve had additional privilege going in being a Spiegler Girl, even [when I was] brand new.” Casey signed with the Spiegler agency immediately upon entering the industry.

“People treat you differently. I can definitely say that, but I also have lots of friends who are not Spiegler girls and have lots of experiences on set.”

She doesn’t elaborate about those experiences, be they positive or negative.

A Three-Fold System

To educate newcomers, APAC has developed a “Porn 101” video similar to AIM’s [Adult Industry Medical] endeavor years ago. Performers are is issued a card that certifies they have viewed the tape.

Photo courtesy of Casey Calvert

Photo courtesy of Casey Calvert

“It’s a very positive step in the right direction,” the native Floridian says, and explains that it’s especially valuable for girls who come in at eighteen or nineteen.

By presenting “this piece of paper that says, ‘I understand what I’m getting into. I get it,'” Casey points out, a performer should be in a position to deal with issues that may arise.

But she adds a caveat.

“We have to make sure they actually really do get it and it can’t be like, ‘here everybody gets a piece of paper.'”

Even that does not fully address the problem.

“If the companies don’t adopt that as a procedure where they require that piece of paper or that card, then it means nothing . . . [because] it is a three-fold system. There’s the performers, the directors, the producers and the companies, and then there’s the agents. The change has to come from all three.”

In other words, communication and cooperation across the board is a worthy goal, though not an easy task.

Casey uses the following example.

“If the performers get educated, then the companies say, ‘Okay, we need proof that you understand what you’re getting into,’ and the agents don’t facilitate any of that, it still doesn’t work. It has to be a system where all three are working together which is why APAC is having such a hard time making it happen.”

Having said that, Casey brightens.

“It’s happening, but it’s happening very, very slowly.”

Photo courtesy of Casey Calvert

Photo courtesy of Casey Calvert

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The Meaning of Consent: Directors

by Rich Moreland, February 2016

The series of posts on consent in the adult industry begins with the directors.

*          *          *

Directors are the captains of the porn ship, so to speak. Everyone’s job on set is smooth sailing when the weather is good. . . until a disgruntled performer stirs turbulent waves that can wash over everyone’s day.

From a director perspective, coaxing anyone to go beyond their limits invites turmoil, such as speed dialing an agent to complain. If anyone walks, kill fees are offered to keep peace and the day is lost.

Though I’ve never seen this on any set I’ve visited, I’ve often observed models interacting with each other before their scenes. It’s not idle conversation. They are taking care of business, clarifying what they are good to go with and what they are not. It calms the waters.

Girlfriends Films

gfs logoThough directors have different levels of flexibility, they review the scene with talent before shooting commences and often work a camera themselves.

I queried two award-winners, the legendary Dan O’Connell and B Skow of Girlfriends Films, and got responses corroborated by performers who have worked for them.

Here’s Dan’s view. He shoots only girl/girl scenes, by the way.

“[Consent] has never been an issue on my sets. Everyone arrives knowing what is expected of them. We talk about the sex scene beforehand and go over each girl’s ‘don’ts.’ So nobody goes into the scene not knowing what to expect.

“I tell every girl that she can, should, and is encouraged to stop the scene if she wants to use the bathroom, consume water or discuss what’s going on. Nobody has ever stopped a scene except for water, to use the bathroom or blow her nose.”

Dan O'Connell reviews the scene with Jorden Kennedy and Aidra Fox

Dan O’Connell discusses the scene with Jorden Kennedy and Aidra Fox

B Skow sends a similar message.

“I never shoot scenes that push limits like the type that Kink.com or James Deen shoot, but I can tell you if I felt either performer was uncomfortable, I would stop shooting and make sure everyone respected each other’s boundaries and start shooting again if we all agreed.”

B Skow

B Skow

Skow does mostly boy/girl work, shooting gonzo and features. In Dan’s case, his content is the vignette, a short story with a sexual theme. My reviews of their films, which are offered on DVD, can be found on this blog and my column at AINews.com.

The Feminist View

For a theater-oriented director like Jacky St. James, whose content is marketed by New Sensations/Digital Sin, her set is geared to bring out a performer’s acting ability.

Jacky says, “I don’t delve too deeply into what is required of a performer prior to a shoot unless I am tackling territory that might be challenging for them.”

She mentions The Submission of Emma Marx, an award-winning three-feature series she wrote and directed, as an example of establishing limits. Jacky wanted to make sure the star, Penny Pax, “was comfortable with each of the BDSM activities we were going to film.”

Jacky St. James

Jacky St. James

Overall,  the feminist director emphasizes, “I would never ask talent to do something that made them uncomfortable. Basically I set the precedence that they must be prepared and work hard…and I’ll help take care of the rest. I want to make their lives easy on set so that we can really focus on the most important components of the production, namely, nailing their characters.”

Gonzo on the Internet

Internet sites, natural vehicles for gonzo or all-sex shoots, aim to satisfy the sexual tastes of their online members. How does this influence limits?

To explore that question, I chatted with Billy Watson who directs for the DogFart Network, an interracial conglomerate of over twenty sites. He runs his own studio in LA and has a variety of sets available for his scenes.

dog fart logo

“Essentially, when someone walks into my studio, I always go over what’s expected and what I want and what I need,” Billy begins.

He uses licensed agents exclusively and relies on them to tell the girls what the shoot entails, “so they know what they are getting into when they come here.” He mentions gang bang and cuckholding scenes as examples.

While the girls are in the make-up chair, a feature of Billy’s studio complete with artist on hand, he reviews the scene coming up, everything from “the sex positions themselves to what names we can call them during the shoot.”

Responses that vary from “Oh, you can call me anything, I don’t care,” to “Don’t call me a bitch,” and everything in between. The same with on-screen behavior. The native Arizonan gives the following example, “Pull my hair, choke me, but don’t spit on me,” or “You can spit on me, but just don’t choke me. You can slap this part of my butt . . . whatever.”

For the DogFart people, it seems language is a sticking point. Occasionally in a gang bang scene the girl will explicitly state she does not want to be called a bitch. “Invariably somebody will actually slip,” Billy comments with a shrug.

Apologies immediately follow, “‘Oh my God, I didn’t mean to do that,'” and the shoot moves on.

A Tricky Thing

However, Billy runs into an issue most other directors don’t encounter.

Jim Talks Business Photo by Bill Knight

Billy Watson

“We show a lot of interracial porn and a lot of the members love it when the girls call the guys the n-word. This is a tricky thing because it goes both ways.”

Some male performers don’t mind. In fact it cranks up their engine. However others “won’t accept that kind of language.”

Has he had an incident that caused filming to stop?

“No, never. I’ve never had any kind of drama because we’re really careful not to violate anybody’s boundaries.”

Billy Watson checks member responses

Billy checks member responses

There are times, however, when “my boss says the members are looking for a really crazy, over-the-top scene.”

In those cases, Billy will book a girl with guys who are comfortable around the n-word. But that may not apply to all the male performers that day and the ones who don’t want such language directed at them will make their boundaries known.

In this reversal of the norm, it’s the men who feel violated.

Billy recalls a particular shoot that starred a model who was free with questionable language. It was a ten-man gang bang and getting all male talent on the same page had its issues.

“A couple of the black guys came up to me and said, ‘that girl’s not going to call me a n—‘ and she had to hold her tongue because I didn’t want the black guys to get upset with her.”

Gone Away

Performers have hinted to me in casual conversation that there are some directors who will look the other way when problems arise.

Bringing this up with Billy evokes an honest assessment.

“It depends on the producer and director and your crew. There’s still some people in this business who think the girls are kind of like chattel. Bring them in [and do what you want] because we’ll never shoot her again.”

However . . .

“A lot of those guys seemed to have gone away,” he remarks.

“The 2008 perfect storm killed a lot of those dudes. [That’s when] Brazzers perfected the tube site, basically the fine art of piracy. They all started off as search engine guys in the early 2000s and have gone on to all the things they’ve done to ruin this business.”

Or challenged it, for sure. But they may also have run off the worst of the lot when it comes to ignoring the performer.

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