Radio Variety (eclectic): Neale Sourna's Eclectic and Covers (originals, covers, remixes from ALL music genres)

http://www.radionomy.com/en/radio/eclecticandcovers/index



Listen online anywhere in the world, if you love ALL music

Last tracks played

Jessica Mauboy

Who's Loving You

Jace Everett

Bad Things

 

Neil Diamond

Cherry Cherry

Chuck Berry

Brown Eyed Handsome Man

Seba

Zina Zina

 

Common

Break My Heart

Melanie

Animal Crackers

Chris Isaak

Baby Did a Bad Bad Thing 

Scott Bakula

Blue Moon Kentucky

Simon & Garfunkel

The 59th Street Bridge Song (Feelin' Groovy)

Michael Andrews

Cellar Door

Barbra Streisand

Adelaide's Lament [From Guys and Dolls][Live]

Leonard Bernstein

Symphony No. 82 in C major ('The Bear'), H. 1/82: Finale. Vivace

Flo Rida - Timbaland

Elevator

Jimi Hendrix

Red House

Elvis Presley

Baby, Let's Play House

Brenda and The Tabulations

Who's Loving You

Tim Rice

And the Money Kept Rolling In

The Boys Choir of Harlem

Burning the Town of Darien

Madonna

Girl Gone Wild

Electric Light Orchestra

Jungle

Playing in:

	Countries
	Singapore
	United Kingdom
	United Kingdom
	United Kingdom
	United States
	France
	Germany
	France
	France
	France China Spain
	and more...

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Recent songs at radio ECLECTIC AND COVERS by Neale Sourna

Recent play at http://www.radionomy.com/en/radio/eclecticandcovers/index:

Take The Money And Run

Steve Miller Band

Bitch Better Have My Money

Rihanna

All The Money or The Simple Life Honey

Dandy Warhols

Get Up And Boogie

Belle Perez

Free Money

Patti Smith

You Make Me Feel So Young

Charles Aznavour - Frank Sinatra

Unnamed Feeling

by Metallica

Latest fun game I've written for Sex and Glory: METROPOLIS - LUX OBSCURA

https://www.facebook.com/luxobscuragame/

Why' is an author / writer, like Neale Sourna, curating a radio station...?

Who hasn't gotten tired, no, cringing-ly exhausted at all the professional radio stations, or even college radio?

The professionals commercial you to death and play the same five songs over and over, even when the artist has tons to choose from. 

And college is cool, no commercials and a wide variety of tracks, many, many the professionals aren't playing, but each favored show is only a couple of hours a week out of all the hours of the week.

So, I'm using that frustration and creativity and programming songs and more that are original, many with covers and remixes, and adding more of what I miss on broadcast.

I'm pulling new stuff or very old stuff from the collective Radionomy.com royalty library and my own private stock of CDs and iTunes and more....

Originals. Like Brenda and the Tabulations' WHO'S LOVING YOU

Covers of the originals and / or remixes. Like WHO'S LOVING YOU by The Jackson Five featuring Michael Jackson and also by Jessica Mauboy from the film THE SAPPHIRES.

Often played in themes, hm, like: sunshine, body, location, James Bond, last, your love, Sympathy for the Devil, cash, get up, God, sex, and more....

I'm still adding and mixing. Come and listen. Come back and listen later and you'll hear.... 

http://www.radionomy.com/en/radio/eclecticandcovers/index 

http://streaming.radionomy.com/EclecticandCovers?lang=en-US%2cen%3bq%3d0.5

http://listen.radionomy.com/eclecticandcovers

RADIO from Neale Sourna

Truly eclectic:

• ALL music is game.
• Plus, originals and covers.

In themes!

Try out my radio station that I'm growing. Planting music not plants for spring.

Try out my radio station that I'm growing. Planting music not plants.

http://www.radionomy.com/en/radio/eclecticandcovers/index http://streaming.radionomy.com/EclecticandCovers?lang=en-US%2cen%3bq%3d0.5

http://listen.radionomy.com/eclecticandcovers

RADIO from Neale Sourna

Truly eclectic:

• ALL music is game.
• Plus, originals and covers.

In themes!

My answer to a possible client. Actually, I seemed to have worked for this person....

My answer to a possible client. Actually, I seemed to have worked for this person / group before; and they were unpleasant in the work last Aug and I had to arbitrate at Guru.com in early Sept last.

The same client I.D. invited me last Sept. I reminded them we were apparently in dispute.

The same client I.D. invited me again this month, we've been talking amiably. I've finally had to ask, if they have more than one person using the ID. Or the person is.... What?

My answer to this possible client, re-client? about not playing CYOA games:

CLIENT: ...but you don't seem to play at all.

NealeSourna's Writing-Naked.com:

Gaming is not calming to me. I find limited personal fun and interest in them. That goes for card and table games, even chess, as well. It's just the way my brain functions.

I bore easily with playing the system; but making the puzzle of a well-told story about great characters that a client can come back to again and again is of high interest, though.

Other game companies have not even asked about play activity before ordering, they answer my questions from my game research and guide me with their corrections to suit what they specifically need and want, especially for new genres and then publish the stories I crafted for them.

There are a LOT of different styles and platforms, after all. Story and how to entertain are the cross over between RPG, CYO, and other successfully published online or card games I've worked on.

Thank You,

Neale

Neale Sourna's Eclectic and Covers at Radionomy.com

Jon Snow is dead. Yay!

So, is the show completely to mostly off book now--and, technically, yeah, since book six not out yet--or what...?

My opinion. Jon Snow is dead. Yay! He can be temporarily dead then breathe again, knowing he has served his full watch on the Wall and can now move on to higher, greater things to protect us all.

Like discovering that his dad was his uncle and that he is more closely related to the Dragon Queen....

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 Game of Thrones, Season 6: Hall of Faces Tease (HBO) at YouTube

Cinema Law: What Does “Work For Hire” Mean for Moviemakers? By Gregory R. Kanaan on March 2, 2016

http://www.moviemaker.com/archives/blogs/cinema_law/work-for-hire-moviemakers/

Writers this applies to the page of any sort: short story, novel, stage play, film script, game....

Most clients I've interacted with THINK AND BELIEVE, incorrectly, that these three words together means they own your work, without giving you an outline without giving you a substantial payment, and without your name attached and hostilely shutting you down about using it as a work sample.

At least Hollywood normally attaches your name to the work for your portfolio.

Me. Always insert in your contract or notes exchanged between you and the client those hand car dealer words: As Is. Meaning this story in this exact form only, in case that short story grows into a novel or three or a screenplay, etc.
=========================================

Q: I was hired to work on a film as a DP and the contract stated that it was a “work for hire.” I’ve seen that in a bunch of employment contracts, but I never really understood what it meant. Can you shed some light on it?

The work for hire (WFH) doctrine deals with your ownership rights over the copyright to any work you produce for someone else. Unfortunately, it’s so often misunderstood by both employees and employers that I think people get it wrong more often than they get it right. And since most filmmakers make their living by creating their work on someone else’s dime, they rely heavily on the WFH doctrine, even if the terms “work for hire” or “work made for hire” are never uttered. So to clarify things, here’s a brief primer on WFH. Buckle up, it’s about to get informative!

 

What Is Work For Hire?

The WFH doctrine is a very specific legal principle that arises under U.S. copyright law. The basic premise is that in certain situations, an employer will automatically own the copyright to work you do for them as a matter of right. But the manner in which an employer can assert that right depends heavily on whether you’re hired as an employee or an independent contractor.

 

The Employee Work For Hire

If you’re hired as an employee, the work you create for your employer doesn’t belong to you, it automatically belongs to the employer. End of story. In employment situations, the ownership of copyright is not determined by the artist’s handiwork; it’s determined by the motive and desire of the employer. How will you know if you’re in an employment situation?

Look for the traditional trappings of employment: salary, benefits, co-workers, office, boss, limited control over your work, etc. If you find yourself in this situation, the only way you can retain the copyright to work you’ve created is if the employer gives it to you in writing.

For example, if you’re hired as a full-time editor at a production company, any work you do within the scope of your employment (i.e. editing, color correction, mixing) will automatically be owned by the production company. This, by the way, may also extend to work you create outside your employment too, especially if that outside work falls within the scope of work you would have created for the employer.

But you and I both know that most filmmakers don’t work as employees; more often than not they work as freelancers. And when you’re hired as a freelancer, the rules change dramatically.

 

The Independent Contractor/Freelancer Work For Hire

If you’re hired as an independent contractor or freelancer, the employer will own the copyright to your work only if all of these requirements are met:

1. The work is custom-ordered or commissioned;

2. Both parties agree in writing that it’s a work for hire;

3. The work falls into one of these nine categories: a contribution to a collective work, a part of a motion picture or other audiovisual work, a translation, a supplementary work, a compilation, an instructional text, a test, answer material for a test, or an atlas.

If you’re a freelancer and just one of these requirements isn’t met, it isn’t a WFH and you keep the copyright. One of the biggest misconceptions I see with freelancers is that they usually assume once the work is complete, they no longer have ownership rights and walk away, not realizing that they still own the copyright.

So for example, if you’re hired as a cinematographer on a film, as long as you and the employer agreed in writing that it’s a WFH, the copyright will be owned by the employer, since film is always a custom job and is one of the nine categories specified under copyright law.

How will you know if you’re an independent contractor? Look for factors like like greater control over the work, using your own equipment, working out of your own home or office, working on your own time, employment end dates, words like “freelance” or “independent contractor,” etc.

 

Moving Forward

Believe it or not, it’s not always easy to tell whether you’re an employee or an independent contractor, and you and the employer may have different views on it. In many cases, you might find that the employer refers to you as an “employee” even though from the outside it looks like you’re a freelancer. Maybe you work in the employer’s office and you receive a salary, but you’re using your own gear and set your own hours. How do you deal with an employment situation where it’s unclear what your status is?

Clarity is the antidote to that kind of ambiguity. Every employment contract should state whether, a) you’re being hired as an employee or a contractor, and b) whether you or the employer retains the copyright. In fact, WFH can get so muddled that I’ve stopped using the term in any contract I draft. I simply state which party retains the copyright because the actual words “work for hire” can cause more confusion than they resolve.

Film producers, take note: Be clear and concise when hiring. It’ll help avoid any copyright ownership conflict down the road. If you’re a filmmaker looking to get hired on your next job, make sure you discuss what to do with that copyright in every contract you sign with an employer. You will probably have to give it up in the end, but that’s the price for continuing to work in a field you love. And if you’re an employee in the film industry where job security is scant, you may not own the copyright to your work, but you can take solace in the fact that you have a steady job. MM


Have a legal question you want our advisers to answer in a future installment of Cinema Law? Send it into staff@moviemaker.com with the subject line “Cinema Law Question.”

Gregory R. Kanaan, Esq. is a Boston-based attorney representing artists, filmmakers and designers in Massachusetts and New York. His practice focuses on entertainment and art law, as well as intellectual property issues. He has resolved disputes involving copyrights, publicity rights, trademarks, and contractual disputes for a wide range of independent filmmakers and design professionals. 

Prior to becoming an attorney, Mr. Kanaan was a television producer, creating documentaries and series for The Discovery Channel, Court TV, TLC, and A&E, among others. When not practicing law, Mr. Kanaan writes for his blog, The [Legal] Artist, which aims to educate creative professionals on the legal issues that affect them most. 

The answers to legal questions provided here are for general education and information purposes only, and are not legal advice or legal opinions. The information provided in this article is not intended to create a lawyer-client relationship between Mr. Kanaan and a reader.
Image photographed by Mark Simakovsky, posted on MovieMaker‘s Instagram.

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WARNING! If you are under 18 years of age, or are offended by sexually explicit material, or if it is illegal in your community to view such material, exit now. EXIT SITE. Viewing material or clicking on any links within this site means you understand and accept responsibility for your own actions, releasing the owners, partners, creators and affiliates of this site of all liability.
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medium and hard erotica / sensual romance / romantic erotica

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soft erotica / sensual romance / romantic erotica and general fiction

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Other projects Neale Sourna has written and have been published beyond PIE.