This is Bruce Friedman of Adult Site Broker and welcome to Adult Site Broker Talk where each week we interview one of the movers and shakers of the adult industry and we give you a tip on buying and selling websites. This week we’ll be speaking with Jay Moyes of High Octane Heart Media and PR. We’ve doubled our affiliate payouts at ASB Cash. Now when you refer sellers or buyers to us, you’ll receive 20% of our broker commission on any and all sales that result from that referral for life. Check out ASB Cash for more details and to sign up. And we’re proud to announce our latest project, thewaronporn.com. You’ll find articles from industry websites as well as mainstream publications. It’s designed to raise awareness of our industry’s plight in the war on porn and the numerous attacks on our industry. You’ll find all that and more at thewaronporn.com. Now let’s feature our property the week that’s for sale at Adult Site Broker. 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This is an outstanding opportunity for anyone to enter the world of only fans management and immediately become one of the top agencies in the world along with its software, processes and know-how which will allow you to bring models up to three times their initial gross monthly revenue or established agencies can acquire the company and expand their business only 2.59 million euros. Now time for this week’s interview. My guest today on Adult Site Broker Talk is Jay Moyes from High Octane Heart Media and PR. Jay, thanks for being back with us on Adult Site Broker Talk. It’s a pleasure. Thank you for having me. It’s great to have you back. Jay E. Moyes is the owner of High Octane Heart Media and PR. He’s also an artist specializing in fetish artwork. He’s been a professional in the adult industry since the 90s beginning in San Francisco, like me and later moving to LA. In 1999, AVN brought Jay in to work in the Art and Archives department where he would eventually become production manager before moving on. He partnered with Sherry Ziegelmeier to create Black and Blue Media, a publicity firm catering to adult businesses. Sadly, Ziegelmeier passed away from cancer in 2020, leaving Moyes to close the firm and begin High Octane Heart. Jay runs High Octane Heart Media and PR, which specializes in working with small adult businesses. Current clients include Mistress Mia Dark, the dungeon store, a curated collection of high-end BDSM gear, Studio 58 events, and kinky franchises of Mr. Sion, like Sanctuary Studios plus Domcom. If you’re a writer or journalist covering sex, kink, and adult, hit Jay up. There’s plenty to talk about. So there’s your commercial. Yeah, you did all that. Amazing. So, Jay, what’s happened since the last time we talked? Well, I’m still doing things behind the scenes. And while I’m not looking for new clients at the moment, I picked up Mistress Mia Dark and Studio 58 events. Mia Dark is a professional dominatrix that teaches kinky classes, performs at events, and she’s on the board for the BDSM Convention Domcon. And Studio 58 events does kinky hotel takeover events on the East Coast, along with parties, social events. The next big show they’ve got coming up is Naughty Knowledge, an educational event over in Pennsylvania. Okay. What major changes are you seeing in the adult industry in general? In this case, just business in general. The overwhelming change I’ve seen is interest rates and inflation, and that’s impacting everything. Like, if you put your ear to the ground on not just to xbiz.net, but like the content boards, Reddit, that sort of thing, you’re hearing like the tap is tightening, the flow is seriously being restricted. And a lot of that change is related to oil prices and the war in Ukraine. Thank you, Putin. Yeah. So rates are not likely to go down much for a long while, no matter who’s president, who’s in charge. And what this means is we have to rethink in terms of our budgets as consumers and how we’re handling money and business, simply thinking that we’re paying more. Instead we have to rethink how much is our work worth, what are things really worth in general? And as an example, it’s very easy to say, well, I’m paying twice as much as I used to, or it was a dollar last time, now it’s three dollars this time. And the thing I use in comparison is I think of price of a gallon of gas. For example, in 1986, minimum wage was about the price of three gallons of gas. And here in California, that ratio hasn’t changed much. So using that as a perspective, it’s like I can look at something and it’s like, some will go, well, the price has gone up. It’s like the price has gone up, but in comparison to the necessities, the ratio is remaining the same. We just have to think, you know, it’s like, okay, well, how much am I charging? Well, compared to a gallon of gas, you adjust that ratio accordingly. That way, you know how much it’s actually worth and how much you’re getting out of it. Yeah, well, that’s very true. And we know gas has skyrocketed. What’s changed for you as a publicist? News is really hungry right now. And I don’t mean hungry for editorial content, but there’s the potential that if you can keep a low overhead and update regularly, you can do a lot with an adult news site. There’s a lot less of them now and there’s a lot of power there, but larger news media should be more open and negotiable for ad buys. Really good example of what we’ve seen in terms of mainstream. Domcon Los Angeles had record numbers this year. Congratulations. Thank you. Thank you. And while I’d like to take some of the credit, the big thing I’m attributing to that has been we’ve been in negotiations, not just myself, but MiaDark. We’ve worked with some major radio stations and they’re getting hungry. We had a major ad buy with a radio station network here in Los Angeles. And that really, I think, is part of what brought our numbers up. That really got us some of the mainstream that we’ve been looking for. And as a publicist, my angle is always to leverage ad buys with interviews and news coverage if possible. Journalists don’t like it when publicists or ad departments dictate the content, but it is still important to work with journalists when the opportunity comes up. Well, as a former advertising salesperson in radio, I did it for 21 years. I know how that works and it’s always worked that way. If the advertising department wants something to happen, it’s generally going to happen, right? And not only that, one of the things that you’ve seen this, Sherry Ziegelmeier used to work for KLOS a long time ago, the thing of it is, is radio stations, regardless of whether or not it’s a major corporation involved or if they’ve become more independent or there are more independent station, they’re always hungry and they want to make a deal. So like the joke that used to be made was that whether it was KLOS or KFI, the thing of it was, was that you might not be able to get a raise working for a radio station or get a bigger budget, but like you could always get your driveway paved. You could get a KLOS. Tell me about it. Yeah, like if you were at KLOS, you could get that AMCO rebuilt transmission. You could get some help from sweet James Bergner. There was always that hustle, that trade of like, okay, we can’t do this, but we can do that. And it’s like, okay, well, let’s try that. Didn’t even know sweet James had a last name. That’s amazing. Yeah. Oh, look, if I told you how many free meals I got when I was in radio, it was just crazy. And I would think terrestrial radio now must really be hurting with all the money going to online advertising. And I’ve noticed that even though online has really tried to hurt terrestrial radio in general, it’s still like the corporate money isn’t doing that great, but like radio is still surviving. Exactly. Exactly. People want to know what’s happening locally. They want local traffic reports. They want local news. They want local sports. And you’re not going to get that from satellite. So you normally don’t do publicity for talent. What has changed? Neodark was very, very persistent. And we worked together a lot for Domcon, for Domcon Los Angeles. We worked together a lot in regards to Domcon New Orleans. And so there was this, hey, can you, what can I do to have you do publicity for me? And there was even like some hemming and hawing of like, oh my gosh, I’m going to, I’m going to work myself to death here again. But Neodark is one of the first people I can throw the ball to when I need a talking head for the convention. And so we’ve worked together very well on that of like, hey, there’s a podcast that wants somebody for an interview. Hey, there, somebody needs to talk to representative from Domcon or sanctuary. She’s working with LA pride or Sian’s in a meeting. Mia, do you have the time available? She was like, she’ll make the time. And so there’s a lot of times where she’s able to jump in there, grab the ball, run with it and make it happen. Cool. Now refresh my memory. Isn’t there something more to Domcom, sanctuary, Mr. Sian or something like that? Yeah. So to recap, Domcon is just one of the many franchises that Mr. Sian has. She runs sanctuary studios. They just completed a big move from LAX to a little closer to downtown LA last year. The space is in the black and she is open to pro kinksters who’d like to come session there. You know, they’re definitely open if somebody wants to Dom there or sub or model there. Oh. When we talked last, Sian did her first erotic city at LA pride’s new location near Chinatown. We just wrapped up our third erotic city at LA pride near Chinatown. We’re getting our logistics down and this year was smoother. Oh, cool. Very good. Is she still doing the lair at AVN? We did lair at AVN this year at Resort World the year before. They didn’t have us doing lair. They just kind of were like, okay, we’re doing the village and sanctuary can have a booth in the village and we’ll do a little something there. And so they kind of, it changed it up a little bit. It was a wild ride last year or this, sorry, this year, January. The attendance was good. They did these things in tents and so I was like, okay, that’s a little different, but it’s more of a public venue kind of, well, it wasn’t like it was outside. So like, unless you looked up, it was really hard to tell that you were inside a tent. But what’s going on now for January 2025, AVN is moving from Resort World back to the hard rock where it used to be. Yeah. Now that’s the artist formerly known as the hard rock or the Virgin Hotel. Yes. Yes. I’m still looking forward as a professional publicist. I’m still looking forward to how many times I can work in virgin jokes and were to play into press releases. Yeah, that’ll be fun. Yeah. Take us for all we’ve got. Yeah. Seriously, I am hoping that lair will be able to come back to the same spot in the hotel. We’re hoping, I’m hoping not much has changed in terms of the actual layout because we know the layout, we know the mesamine and we know how to use that whole space to our advantage. Yeah. How do you think coming back to that facility and obviously the facilities changed a lot with the renovation, but how do you think that’s going to help improve AVN? The really hard part in the big picture, AVN really deserves a larger venue like Resort World or the Venetian. Very polished. It is the AVN Awards. We’ve called them the Oscars of Adult, but the thing of it is that with the economy, I can see where it’s like we fit well with the hard rock or sorry, what was the hard rock? It’s going to be hard to get out of that habit, isn’t it? I know. I am not ready to go walking into the Virgin for the very first time. I’m like, "Oh, please let them have not taken out the, please let them have kept some electric guitars in there somewhere or some of the decor." Because it’s a smaller venue, it’s more comfortable in many ways. It feels a little more laid back. It’s not as daunting with Resort World. One of the reasons why I think they had the tents outside was coming in from the garage. You had to do a trek through the casino, through the food court, through the shopping mall, then you got to the convention center. They didn’t, a lot of the crew, it was like, "Okay, well, we can’t have you at Resort World, so you’re going to have to drive over." That just, it was like, "Okay, so what time are you going to be here?" You’re having to add like a half an hour or an hour. Because with the hard rock, now the Virgin, it was a lot easier to get rooms at the casino hotel, plus you had places that were like, "It’s just across the street. We’ve got the beer garden across the street. We’ve got doghouse across the street." And there’s a great Italian restaurant in that strip mall. I’m trying to think of the name of it, but I go there every time I’m in town. With the best pizza by the slice? No, it’s a really high-end Italian restaurant. I went to a wine dinner there once, and I can’t think of the name right now. I always have to look it up, but it just rocks. I got to try that. Oh, it’s fantastic. Great place. Great place. Yeah, so there’s a lot going on around there, no doubt about it. Yeah, it’s a lot easier to work around and walk around. Yeah. Coming back to publicity, what has AI changed for you as a publicist? In terms of editorial content and press releases, I haven’t been satisfied with the results from AI on editorial content, and I’m not about to teach it how to swipe my work. There’s this whole thing, "Well, you can teach it how to do the job." It’s like, "Yeah, but I have a job because I don’t have to teach it to somebody." Now it’s been very handy for design. What I’ve done a little different is I’m subscribed to Adobe Photoshop. I know that’s a little controversial all of a sudden, but I just have Photoshop. I’m not subscribed to bunches and bunches of stuff, but Adobe is including their free program called Firefly. Like the other AI, it can be a little tricky to work with. You have to be specific about what you want to do, but I use it in place of stock art. Sure. Yeah, you can do a lot of things that way. I wish we had it when I was at AVN. I really do. It would have made our jobs 10 times different. It would have been a lot easier to do a lot of stuff. You’re not using it to write press releases or you are. Not yet. No. It just comes out different than how I normally format a press release. Yeah. What I find it works really good for me since I’ve got 11 different media that run the press releases for this podcast is that I program it to do different versions. So that’s really good for the search engines. And then I have to manually edit it, obviously, because it says some stupid things. Some really stupid things. And sometimes it says things that are more British than American. Yeah. Yeah, it can be a little bit tricky. I will say as a publicist, the Tsarist is one of your best friends. Oh, absolutely. I use that for a lot of things. I use that to find domain names. I do it for many things. Yeah, I’ve got it right here on my Mac. So you’re just using AI for art right now? Right now, yeah, primarily for graphics. And what are your plans in the future for it? What are you thinking about? Well, I’m less interested in uploading my artwork itself to the internet. The hand-drawn graphics that I do for things like DomCon and Studio 58 events, they’re going to travel regardless of what I do. I’ve done artwork like poster art and flyer art. Those are going to go out there regardless. So those are semi-commercial images. But the serious angle back to what I was doing with AVN, people would come in and go, "Can’t you just Google it?" And they were talking about just like going on to Google and just pulling photos to run with an editorial or a news story. But it doesn’t exactly work like that. And some pieces are public domain. Some graphics are free, like the stuff that comes with marketing materials, product shots. You can sometimes get some wiggle room by stitching some stuff together. But stock art is much of a content issue as in other fields. When I started at AVN, they would buy CDs of click art that had been drawn by a guy in Eastern Europe. And this dude had been paid pennies on the dollar to make graphics that would have -- these were going to be seen around the world and they were used around the world. And of course, the reference material for these graphics had to come from somewhere. And in terms of the ethics of what’s going on, the AI graphics come with the subscription of Photoshop. It’s paid for. Someone got paid to develop it. And I do admit in terms of that gray area, those images do require references too. I think some of those are going to get better. But the uses that I have for it are more like a really good example was Studio 58 was doing a wrestling themed party. Not just show up with a whole Kogan t-shirt, but they actually had a wrestling mat, erotic wrestling. It’s like that’s kind of a fetish into itself that doesn’t get talked about as much these days. And I’m like, I need a wrestling ring. Now I could go onto Google and try and find a photograph from a wrestling ring or a gym. And I could like redo some things in Photoshop. I could clip some stuff out. And I could still -- it’s like the likelihood that that would have consequences would be fairly slim. But in this case, it saved a lot of time. And I’m still using it like in terms of like, okay, well, I’ve got -- okay, AI created the ring. I’m still laying in the text. And I’ve got like multiple formats that this graphic is going in. So it’s like, okay, now I’ve got the general layout, but I’ve got multiple -- you know, it’s not -- I’m not yet seeing where we’re doing multiple layered files that I can tweak and move the layers around. If I did, that would be very handy. But I’ve got the skill at this point to be able to go in and make certain corrections, jump up things to other layers. It’s just in this case, I’m using it like a piece of stock art. And I can work much faster with it. Interesting. Do you have any ethical issues with AI for graphics? No more than the ethical issues that came working with StomachArt. The one thing I would say is if I was to pull -- you know, if I was to ask it for a graphic and it was really obvious that that wrestling ring had like WWF somewhere on it, and not just ethically, I could get freaking sued for that. And so that’s something I definitely would keep in mind. But some things are just going to be so general, like a glass of wine, a hamburger. If anything, one of the problems I’m having is I want to be able to drop out the backgrounds. They’re not quite letting me do that yet. And one of the things is usually I’m doing this in terms of like something that looks like stock photography. I’m not trying to reinvent the wheel here. Right. I wonder if there’s an AI tool that would help you crop out the background. Well, it should. This is something Adobe should be thinking about if they’re not already in terms of Firefly. You would hope, wouldn’t you? But there’s a lot of things Adobe doesn’t seem to address in a lot of their programs, unfortunately. Are you concerned about AI replacing you as an artist? You know, that’s the thing in terms of like where I’m more hesitant to upload our work to the internet. Because in this case, we’re talking about stuff that I’m doing as art. I’ve done illustration before. I’ve done editorial illustration. But my bigger concern and my hesitation is if I go to put my illustrations up there, or let me phrase it, if I go to put my paintings up there, I don’t want it learning that style. And I’m scanning in images less and less. Instead, I’ll take photos and post photos of the artwork to social media, which we’ll add in distortion. I’m also transitioning to more tangible media like paint or stuff on canvas. AI might deter me from doing prints or at least inspire me to have more control over how I have prints of my artwork done. Interesting. So your real concern in dealing with AI is having things be stolen, right? Yeah. Like a good example of what I’ve seen with my peers, it’s one thing if you’ve got, it’s like, OK, draw me a devil girl. Or I want to see an anime. Anime is a really great example. Let’s do an anime devil girl. Anime is a fairly easy style to crib. In fact, developing a style in anime is really saying something, whether it be Ghibli, I think it was Mod Mouse, Madhouse, Riji Matsumoto is another great example. But like there’s some stuff. This is actually one of the first things that we saw cribbed by AI was to create these anime girls and they all kind of have a similar look. But if you say, I want a devil girl and suddenly you’re seeing Chris Cooper’s devil girls, the art of coup, that’s obviously swiped from somewhere. If you’re seeing something that you look at and go, that’s Robert Williams. That’s where it’s really not cool. When you, there’s a saying of good artists borrow, great artists steal. Think of it as like jacking a car or think of it like when you were a child. If you swiped something, someone called you and the first thing you said, it’s mine. So think of it like, OK, well, you just jacked a car. Well, you’re not going to go, oh, I’m sorry, you can have it back. No, you’re going to change things. You can’t really swap out the tires, put in new stuff on the engine. You’re going to go nuts. You’re going to make it your own. And I’m not advocating stealing cars, of course, but I was going to ask you about that. But the thing of it very seriously is as an artist, part of it is like actually the devil girl again is a really, really great example. Coop was not the first person to draw demon checks. Absolutely not the first person. Robert Williams did a number of pieces of women that would fit into that element. It was a very popular genre. I’ve dated quite a few that would fit into that element. So there you go. But Coop took that and instead of he took something that was cliche and he made it voluptuous. He gave it a very iconic look. And that’s kind of what I mean by like, I’ve seen people that they have literally just simply cut and paste the artwork off the internet and then put their logo on it. That’s not cool. Yeah, look, I mean, there’s lots of sites where people just steal content too, you know, so. Yeah. So you do a devil girl, change the face, change the pose, change the accessories, find a way to change it up and you make it your own. You have to make it your own. That’s part of the point. It means that you’ve learned something, you can take it further. Very true. How about your concerns about AI replacing you as a publicist? I can see it coming, but the thing of it is I’m more concerned that AI isn’t replacing our consumers with paying customers. They’re getting it backwards. With AI rights, the press release and the journalist is replaced with an AI that’s turning that press release into a news story. And that news story is being read by a search engine bot. That’s the only thing reading that news piece. Where’s the person with the money? My big concern is we’re removing the compulsion for the consumer to read that article and spend the money. Coming full circle about the hunger for news. In 2002, we had people coming out of the woodwork to write about porn. There was Luke Ford, Gene Ross, Jimmy D., Mike South, Graham Panante, Quasar Man. And then Kevin Moore came in and he started something very serious when he created Stunning Curves, which was dedicated to just running press releases unedited. And what Kevin Moore started back then became the norm. Part of the job as a journalist is to take that release and determine if it’s worth writing about then doing something compelling with it. To actually get a reader, a human being, in this case a human being with money and power to do something compelling with that notion, not just that release, but that story. And right now, AI is not ready for that. That’s very true. Not now. Are you worried about the future? I’m concerned, but I’ve had some very, very serious learning experiences. And they’ve told me, as we were discussing this earlier, everything changes. As we were coming into 2020, interest rates were going through the floor. The economy was very, very different and the economy was still adjusting to things that had happened all the way back in 2008. So in this case, how I address any concerns or fears is to look at what’s going on on the ground and look at what’s going on with people. I didn’t look at 2024 and go, "I’m taking on Mia Dark as a client." I didn’t look at 2024 and go, "I’m taking on Studio 58 as a client." They came to me and they said, "We need a warm body. We need you because you know what you’re doing. We don’t have time to try and figure out if we were to have AI do this stuff for us. We don’t have time to do that." And Jay, what you do has more of an ear to the ground because part of what’s changed, we’re looking at right now versus if I go back to when we started Black and Blue Media, back about 2005, 2006. Back then, we’re still talking about the floating world, aggregate, which had the list of all those adult news sites, not just AVIA, not just X-Biz, not just YNi, but also Luke Ford, but also Mike South, but also Extreme Gene Ross and Jimmy D. We had where when we came in, we’re selling DVDs. That’s primarily what we’re doing is we’re working with Michael Ninn and we’re working with SkyBlue, Platinum Blue Productions. We need a way to bring this to the people. We need a way to get this out. And those were the avenues that we had. MySpace was just kind of like fading out. It actually was really more about its peak when we started. And within a couple of years, MySpace was out, Facebook was in, and the social media revolution had really begun. So there’s a dynamic that I work with now of like the press release goes out, the platform covers it. But now it’s a matter of looking at it from there and going, I need to direct this to go to Twitter. I need to direct this to go to sometimes Instagram. That life is an important aspect that a lot of people are missing. But also, I’m also keeping an eye out of like, okay, here’s Blue Sky. Here’s Mastodon. Here’s Penexors. Here’s Lips.Social. And I need to keep an eye out and my ear to the ground as to what’s growing and what’s changing. And that’s something AI is still behind the ball on. Yeah, that’s a good point. How do you see others adapting to AI graphics? Look for resurgence in 80s style, zine and underground art. Think is in many ways a rejection of aesthetics as a baseline. And we’re going to see a similar rejection of what AI puts out. AI graphics programming has been set to look as slick as possible. Even if it’s really cartoony, you get a lot of shading. You see a lot of hyper surrealistic influences kind of back there with, you know, I’m seeing hints once again of like, not necessarily stealing Robert Williams, but like, there’s that attitude of where Robert Williams came from, that angle of where Mark Reiden came from. AI has a very hard time replicating the raw look of low budget stuff we were putting together back in the 80s and 90s with photocopy machines, collage, technical pens and sharpies. And I’m already noticing I’m not the only one. There’s now a preference that’s starting to come up or content that’s a little less filtered, a little less color corrected, and looks like it was a little more amateurish. Matter of fact, even before AI, the dungeon store, Brittany approached me and said, "Look, when we’re doing stuff on FetLife, you got to tone down the marketing. We’re people to people." So we’ve got to be dealing more in layman’s terms, a little less buzz, a little less polish, and a lot of sincerity. Hmm. That’s good advice, I think for everybody. Is it bad that AI is being used for content? It’s a tool, and somebody still has to use it as a tool. I used it to create some graphics. We were talking about like the wrestling party, and I’ve done like a thing for a munch. I still had to, oh, I did a thing for rainbows and unicorns. That was the initial art for that was AI. I still had to crop it. I still had to correct mistakes that it made, and I see huge advantages to AI, to having AI for things like colorizing comic pages, creating shortcuts and animation, possibly editing video. There’s a lot of people that are using it for music, and I don’t see any executive wanting to do the extensive work necessary to have AI make things just right. They still have to hire somebody to do that, and there’s no guarantee that someone is less expensive. Yeah, you make a good point, and they talk a lot about how many jobs AI will take. And of course, it’s already starting. But do you think that’ll be lessened by what you were just talking about? Well, that’s where we’re back to really, it’s more of a shakeup and a shakedown. The best example I can think of right now, which still is very daunting to me. In the ’90s, people would look at me doing my hand-drawn artwork, and they’d go, "It’s all going to become computers. It’s all going to be about CGI, and your days are numbered." I’ve been told my days are numbered a lot of times. For a while. And I will admit, the best solution to that is change, be ready to learn, be ready to do new things, be ready to play with new things. But the thing of it is, is that, yeah, okay, CGI did change. We’ve gone from a lot of practical effects to a lot of CGI and a lot of digital effects. But when you look at a Marvel movie now, we were watching She-Hulk Attorney at Law, and we’re just looking at name after name after name after it was like five minutes of end credits for a 40 to a 50-minute television show. That’s a lot of fucking money. Yeah, of course. You still need people to do it. There are still people to do it, and there’s still work available. It’s just how it’s being done. There’ll be people, like, there’s already classes that are coming up, and it’s one of the things I’m thinking about, maybe instead of being in a hurry to have an AI program do all this stuff for me, I might be doing a class on, like, okay, what bombs should I be looking for for an AI program? Maybe there’s something I should be looking for for Firefly, or when these things come out, maybe there’s a knack or a little something I should be looking for to make these things easier. Sure. There always is, especially with AI. I mean, I get medium, and every day there’s articles on chat GPT prompts. So yeah, that’s real important stuff. No two ways about it. Well, Jay, I’d like to thank you for being back with us again on Adult Site Broker Talk today, and I hope we’ll get a chance to do this again soon. I can’t thank you enough for having me. This has been a lot of fun, and I’m really glad that we got to talk about stuff like AI on the show. Me too. My broker tip today is part four of what to do to make your site more valuable for when you decide to sell it later. Last week we talked about keeping your site up to date and making sure everything works. Next, find new ways to monetize your website, such as sell advertising. If you’ve got a free site like a tube, that’s the best way to monetize your site. If you have a tube, another way to make more money is to sell premium memberships. For free users, one level of content, and for premium users, you can do things like give them higher quality, or longer videos or both. You can also make the site ad-free for premium members. Start an affiliate program. If you have a pay site, this is a great way to increase your quality of traffic and get more joins. With all sites, you can figure out other upgrades and products you can sell to your users. Pay sites can also sell pay per view, where people have the option of paying by the scene for content they can’t get on the site. This is also another way to charge users as opposed to a monthly fee. Sell them other products like toys and novelties. Market your business. Do things to improve your search engine results. There are some great SEO consultants out there who can help you get higher search rankings in Google. If you want some recommendations, contact us on our site. List all the benefits of your site and your marketing and how they affect the user. And of course, hire a great marketing consulting firm such as Adult B2B Marketing, which we also happen to own. We’ll talk about this subject more next week. And next week we’ll be speaking with Jordan Jay of Fantasi. And that’s it for this week’s Adults Site Broker Talk. I’d once again like to thank my guest Jay Moyes of High Octane Heart Media and PR. Talk to you again next week on Adult Site Broker Talk. I’m Bruce Friedman. [MUSIC] [ No Audio ]
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