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Music / Games
Michael Jackson: The Experience
'Michael Jackson: The Experience' is a music video game based on Michael Jackson's music and songs. It was licensed by Triumph International, developed by and published by Ubisoft, and was released on November 23, 2010 for the Wii, Nintendo DS, and PlayStation Portable. It was released on April 12, 2011 in North America and April 14, 2011 in Europe on the other major platforms, featuring use of the Xbox 360's Kinect and PlayStation 3's PlayStation Move. The game features many of Michael Jackson's hits, such as 'Bad', 'Thriller', 'Beat It', 'Billie Jean','Rock with You', 'Smooth Criminal', 'Black Or White' and 'The Way You Make Me Feel'. All initial launches of the game will include a limited edition replica of Michael Jackson's famous sequined glove.
There are three modes of play in the game. The first is "Classic" where everybody follows the on-screen Michael Jackson avatar. The second is "Duo" which is used for duets (such as 'The Girl is Mine') or videos with two main characters (such as 'The Way You Make Me Feel.') The player(s) can choose to dance as either Michael or the other character. The third mode of gameplay is "Crew," which features Michael and two backup dancers (five during one part of 'Black Or White'.) Players can opt to dance as any of the three. After performing songs, players will be able to unlock training videos in the "Dance School" where they are taught some of the more difficult moves from several of Michael Jackson's music videos and stage performances.
Four player multiplayer is available on the Wii and Move enabled PlayStation 3 but the Kinect will be limited to one player at a time. The game will also feature singing on the Kinect version on Xbox 360, and optional on-screen lyrics on the PlayStation 3 and Wii versions. On the DS version of the game there is a cartoon version of Michael on the top screen and the player follows along by tapping the bottom screen with the stylus to the rhythm of the music, a style similar to the Nintendo DS game, Elite Beat Agents. It is also revealed that on the Wii version you can play as Michael or the Back-up Dancers. The game was displayed at New York Comic Con at Ubisoft's booth.
In the Nintendo DS version of the game, when a pirate version is detected, the game won't display any notes and a loud vuvuzela sound loop will play together with the music. Ubisoft's official answer was: "The development team worked this feature in as a creative way to discourage any tampering with the retail version of the game". The retail version was successfully cracked within 24 hours of release.
The reviews for the Wii have been mixed. IGN gave it a 3.5 saying that it doesn't give clear instructions on how to dance and also criticized the controls. GameFocus said that they failed at making a masterful game that matches the King of Pop. Metro gave it 10/10, calling it an "incredible game" as it "recreates the experience of Jackson's music and life incredibly." Videogamer.com gave the review a 7/10, stating that the music overplays the responsiveness difficulty. CNET gave the game 5/5, writing that the game is "extremely easy to pick up and play" and "the choreography is amazing" The Escapist gave the game 4/5, noting that the game "is not meant to be played by yourself."
For the DS and PSP versions, the reviews were average, with a slightly better score for the DS version, IGN gave a 6.5/10 for DS and 5.5/10 for the PSP. Destructed gave a 6/10 for the DS version.
The game has since sold over 2 million copies worldwide, and is expected to sell additional millions with the release of the Move and Kinect versions in April 2011.
Developer(s): Ubisoft Montreal (Xbox 360 & PS3), Ubisoft Montpellier / Ubisoft Paris (Wii), Ubisoft São Paulo (DS/PSP)
Publisher(s): Ubisoft Paris, Triumph International
Platform(s): Wii, Nintendo DS, Xbox 360, PlayStation 3, PlayStation Portable
Release date(s):
PlayStation Portable, Wii, Nintendo DS: NA November 23, 2010
PlayStation 3 and Xbox 360: NA April 12, 2011, EU April 14, 2011
Genre(s): Music, Dancing, Singing
Mode(s): Single-player, Multiplayer
Rating(s): ESRB: E10+, PEGI: 3+ / 12+ (Wii)
Media/distribution: Wii Optical Disc, Nintendo DS Game Card, DVD, Blu-ray Disc, UMD
Space Channel 5: Part 2
'Space Channel 5: Part 2' was released in Japan on February 14, 2002 both for the Dreamcast and PlayStation 2. The PlayStation 2 version was released in Europe (except for the UK) on February 12, 2003, and in North America as part of special edition package with the first game on November 18, 2003.
'Space Channel 5 Part 2' (Limited Edition) was released in Japan featuring a carrying case and a set of large headphones. Improvements include real-time backgrounds as opposed to Part 1's rendered videos and stills. An HD version was released in 2011 for Xbox Live Arcade and PlayStation Network and will be included in Sega Dreamcast Collection, released on Xbox 360 in February 2011.
Space Channel 5
'Space Channel 5' is a music video game developed by United Game Artists under the direction of Tetsuya Mizuguchi and published by Sega.
The gameplay features a system where the player must copy sequences of dance steps performed by the computer. It was first released in Japan in 1999 and North America and Europe in 2000 for the Dreamcast and was later released for the PlayStation 2 in Japan and Europe in 2002 and ported by THQ to the Game Boy Advance in 2003.
Space Michael
Voiced by: Michael Jackson
A member of 'Space Channel 5', based on Michael Jackson. First appearing as a cameo in Part 1, he has a more involved role in Part 2. After being rescued by Ulala from the Rhythm Rogues, Michael uses his singing skills against a singing robot and joins her to fight against Purge.
'Space Channel 5' was first released in Japan for the Dreamcast on December 16, 1999. It was later released in the United States on June 6, 2000 and in Europe on October 8, 2000. The game was given a budget DriKore release in Japan on December 21, 2000 in simpler packaging. In 2002, Space Channel 5 was ported to the PlayStation 2. It was released in Europe on March 15, 2002 and in Japan on December 12, 2002. It was released in North America on November 18, 2003 as part of a sole package called 'Space Channel 5' Special Edition that contained both 'Space Channel 5' and 'Space Channel 5: Part 2'. A port of the game for the Game Boy Advance, titled 'Space Channel 5: Ulala's Cosmic Attack', was developed by ART.co and released by THQ in June 2003 as part of a deal to make GBA games based on Sega properties.
Developer(s): United Game Artists
Art Co., Ltd: (GBA version)
Publisher(s): Sega, Agetec, THQ (GBA version)
Platform(s): Dreamcast, PlayStation 2, Game Boy Advance
Release date(s):
Dreamcast: JP December 16, 1999,
NA June 4, 2000,
EU October 6, 2000
PlayStation 2: EU March 15, 2002, JP December 12, 2002, NA November 18, 2003
Game Boy Advance: NA June 17, 2003
Genre: Music
Mode(s): Single player, multiplayer
Rating(s): ESRB: T (Teen), ELSPA: 3+
Michael Jackson's Moonwalker
Michael Jackson's 'Moonwalker' is a franchise for several video games based on the film of the same name created by U.S. Gold and Sega in 1989 and 1990 that incorporate the personage of and were co-developed by Michael Jackson himself. The arcade version, home video games and home computer versions all differ in terms of gameplay, but the story and concept remain constant. The story, which is taken from the 'Moonwalker' film, follows Michael, using various music and dance related abilities, on a quest to save kidnapped children from the hands of the evil "Mr. Big".
The games incorporated synthesized versions of the musician's hits, such as 'Beat It' and 'Smooth Criminal'. The games have now achieved cult status and are remembered for being a memorable point in Jackson's change to a different stage persona from 'Thriller', to 'Bad'.
Versions of the game were released for the popular 8-bit and 16-bit home computers of the time. They were developed by two small soft houses, Irish Emerald Software Ltd and American Keypunch Software, and published by British company U.S. Gold; all of these have since gone out of business. The home computer versions are the only games to make reference to the early portions of the film.
Arcade version
With completely different gameplay to the home computer versions, 'Moonwalker' was developed into an arcade video game by Sega (programming) and Triumph International (audiovisuals), with the help of Jackson which was released on the Sega System 18 hardware. This game suffered from Sega's suicide battery on its arcade board (a battery that, accidentally or otherwise, renders the game unplayable at the end of its life span). The arcade has distinctively different gameplay from its computer and console counterparts, focusing more on beat-em-up gameplay elements rather than platform.
Arcade gameplay
The game is essentially a beat-em-up, although Jackson attacks with magic powers instead of physical contact, and has the ability to shoot magic power at enemies instead of getting close enough for a melee attack. A map of the stage is shown before it begins, and after which, Jackson must get from the start to the end without losing all his health, rescuing all the children and defeating all the enemies along the way.
The game can also be played multiplayer; if the cabinet supports it, up to three people can play simultaneously. All three players play as Jackson, dressed in his suit from the 'Smooth Criminal' music video. The first player wears a white suit and hat, with a blue shirt; the second player's character dons a scarlet outfit with a white shirt; the third player's character is dressed in black, with a red shirt. The characters all have armbands: blue for white outfit, white for red outfit, and red for black outfit.
Dance Magic: Arguably the most memorable feature, Sega takes the concept of the "smart bomb" or "screen zapper" and changes it to the form of dancing, in a special attack termed "Dance Magic". Remaining stocks of this are displayed onscreen as the MJ logo, , which had recently debuted in the film. Once activated, a heavenly spotlight shines on the player, and the player starts to dance several of the high-energy moves that have become Jackson's hallmarks. All of the standard enemies — henchmen, gangsters, guards, robots — start dancing with the player and are destroyed at the end of the dance routine (ostensibly because they cannot keep up with Jackson's dance moves). However, bosses do not dance, but do take a significant amount of damage. Any captive children on-screen at the time Dance Magic is activated are not harmed. There are three different dance routines that may be performed, and the player starts with one to three of these attacks per credit (depending on how the machine is set up).
Bubbles: Part of the peculiarity of this game comes from this unusual power-up. Bubbles the chimpanzee, Michael's real-life pet, appears in each level. Once collected or rescued, the chimp transforms Michael into a robotic version of the pop singer that has the ability to shoot laser bursts and absorb significantly more damage.
Developer(s): Triumph/Sega
Publisher(s): Sega
Designer(s): Michael Jackson
Platform(s): Arcade
Release date(s): July 1990, August 25, 1990
Genre(s): Beat 'em up/Run and gun
Mode(s): One to three players simultaneously
Cabinet: Upright
Arcade system: Sega System 18
Display: Standard horizontal, raster graphics
Console versions
Home versions of the game were released for Sega's Mega Drive/Genesis and Master System home video game systems, as well as the Sega Game Gear handheld system, though the gameplay was completely different from the arcade version. A version has also been rated by PEGI for an upcoming release on Virtual Console, but no confirmation of which version. The home console versions of the game were actually based on an evolved version of the home computer version of the game (with gameplay somewhat similar to the Shinobi series), in contrast to the arcade version which was a three-quarters view shooter/fighter type game. The game involved the player controlling the pop star in a quest to save all the kids that had been kidnapped by Mr. Big. In the arcade version, Katie was one of three types of children who could be rescued, in the home version, all of the captive children are young blond girls termed "Katies", although Zeke appears in the end sequence.
The game's levels and music were borrowed from the film (though many of the music tracks were taken from Jackson's Thriller album as well) and the player had the ability to destroy enemies by making them dance. In the console game Michael could become a robot by rescuing a certain child first, and then grabbing a comet that fell from the sky. In the arcade version, Michael became a robot by rescuing his chimp pal Bubbles. The arcade version also had the novel feature of three simultaneous players (each controlling Jackson's character in a different colored 'Smooth Criminal' outfit).
Home console gameplay
The gameplay is focused on finding children, all of whom resemble Katie from the movie, which are scattered throughout the level, some behind certain objects such as doors. Most of the objects are empty or contain enemies. In contrast to the arcade version, Michael's moves more closely resemble his trademark dancing moves. For example, the standard attack is a stylised high kick that is commonly incorporated into his dance routines. If the player continues to hold the kick button, and moves michael backwards, he performs Michael's signature Moonwalk dance move. The player has combination health/ability bar. One button will allow Michael to spin, being invulnerable in the process. However, this spin move will slowly lose health. If the spin is held for more than two seconds, Michael will throw his hat in a fashion of a boomerang which will destroy most enemies. The longer the spin move is held, the wider distance that the fedora will cover. If held down long enough, a dance magic scene similar to the arcade version would play, featuring dance moves taken from the film clips of whatever song is playing in the background. Michael can also use the magic to slide down banisters and eliminate multiple enemies in the process. In certain levels, a shooting star may appear which temporarily transforms Michael into a cyborg that can attack enemies with various artillery, though cannot collect children. Almost every stage has three levels, designated in Super Mario Bros. fashion as X-1, X-2, X-3. However, the final level of the Mega Drive/Sega Genesis version was a first person "flight sim" type battle between Michael (now transformed into a space ship) and Mr. Big's ship.
Developer: Sega
Publisher: Sega
Platform(s:) Mega Drive/Genesis, Master System,
Game Gear
Release date(s): August 24, 1990, September 29, 1990, January 25, 1991, February 31, 1991
Genre(s): Beat 'em up/Platformer
Mode(s): Single-player
Rating(s): PEGI: 12+
Media/distribution: Cartridge
Updated: 27/05/2011 3:18 PM
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In its judgement issued on May 14, 2019, the European Court of Justice (ECJ) states that all companies operating in EU member states must set up a system to record the working time of their employees. The ECJ states that Community regulations impose the obligation on employers to implement an objective, reliable and accessible system that allows recording of the daily workday performed by each worker.
In the press release no. 61/19 the ECJ added that "it is for the member states to define the specific arrangements for implementing such a system, in particular the form that it must take, having regard, as necessary, to the particular characteristics of each sector of activity concerned, or the specific characteristics of certain undertakings concerning, inter alia, their size."
In this newsletter, Dentons European Employment Group has summarized the current situation on recording working time in different EU countries. The newsletter also offers an overview on countries, which are not members of the EU, where Dentons has offices, and that might be relevant for your international business. Finally, comments are indicated on how the decision will influence the current legal situation in different countries, and which possibilities (if any) companies can use in order to save costs.
Please do not hesitate to contact your Dentons Employment team for further questions.
Yolande Meyvis
The obligation to record working time was introduced by the Law of March 5, 2017. The law allows for "gliding work schedules" whereby the employee is no longer obliged to adhere to strictly determined work schedules with set timing for the start and end of the workday, but can freely determine his/her arrival and departure timing within ranges set by the employer.
The work time registration system must include the following information:
Employees and social inspectors can consult the data from the work time registration system at any time. The registered data must be kept for 5 years.
Executive level employees and persons occupying a position of confidence are not subject to the legislation on the duration of the work, hence the obligation to record working time does not apply in their case.
For overtime work, employees shall be entitled to a 50% wage supplement. This wage supplement amounts to 100% for overtime performed on a Sunday or on a public holiday or replacement day for a public holiday.
A CBA can allow for overtime pay to be commuted in paid time off at the same rates (50pc/100pc).
The implementation of new or modified work regimes and work schedules requires consultation of the employee representatives in the works council.
Belgian law provides for mandatory rules that comply with the minimum periods of daily rest, weekly rest, annual leave, breaks and maximum weekly working time limits foreseen in Directive 2003/88 and it generally prohibits the occupation of workers outside those limits except in a limited number of circumstances. Violation of this prohibition is sanctioned by the social criminal code.
Belgian law requires employers to determine the applicable work schedules, indicating the start and end of each workday either in the work regulations for fixed schedules, or at least 5 days in advance for variable schedules. It also requires a work time registration system, if the timing of start and end of the workday are no longer fixed (= gliding work schedule).
The ruling of the ECJ is unlikely to have an important legal impact on the modalities of measurement of work time in Belgian law.
Tomas Bilek
Yes, employers have an obligation to keep a record for each of their employees stating the beginning and end of:
There are no exceptions to the statutory obligation to record working time for employees, working based on an employment contract.
However, the employer is not obliged to record working time for employees, working based on agreements other than employment contracts (such as temporary jobs).
Overtime work is work performed by an employee, on the instruction of the employer or with the employer's consent, which exceeds standard weekly working hours (max. 40 hours) outside of working hours or regular shifts.
As regards part-timers, overtime means any work exceeding their predetermined weekly working hours; however, part-timers may not be ordered to work overtime.
Where the employer provides the employee with compensatory time off at the employee's request and the employee performs work for such time off, this is not regarded as overtime.
An employee may not be ordered to do more than 8 hours of overtime work within an individual week and 150 hours of overtime work within one calendar year.
The total scope of overtime work (i.e. overtime work ordered by the employer and other overtime work agreed between employer and employee) may not exceed on average 8 hours per week calculated over a period of no more than 26 consecutive weeks.
An employee is entitled to a wage for overtime work and a premium of at least 25% of his/her average earnings, unless the employer and the employee have agreed that instead of the premium for overtime work the employee will take compensatory time off.
However, where a wage is agreed with regard to potential overtime work, the employee is not entitled to the wage plus premium or to the compensatory time off for such overtime time. The wage may be agreed with regard to potential overtime work, provided that overtime hours are within the scope of 150 hours in one calendar year. The maximum limit for overtime hours for managerial employees is 416 hours per calendar year.
Statutory working time and conditions for overtime may be agreed in the collective bargaining agreement.
There is no legal impact in this matter, as Czech laws already strictly require recording working time, in particular for reasons of payment of overtime.
Katell Deniel-Allioux
French labor law requires the employer to control and monitor the working time of its employees to check that they comply with maximum working hours rules, rest periods, etc.
The modalities of control depend upon the working organization in place within the company and upon the categories of employees (clock-in/clock-out, individual declaration for executives having autonomy in their organization).
Senior executives are out of the scope of the 35- working hour regulations but the definition of such "senior executives" is very strict. Only executives involved in the strategic orientations/management of the company, with a great level of autonomy and at the highest level of the compensation system in force within a company could be considered as "senior executives" or "cadres dirigeants".
Employees can work overtime up to an annual quota, fixed by law at 220 hours per year. However, it is possible to set a different quota (lower or higher) by an in-house agreement or a collective bargaining agreement.
Overtime pay is subject to one or more premium rates, fixed by the applied collective bargaining agreement or by a specific in-house agreement applied within the company. The minimum premium rate is 10%.
In the absence of any collective bargaining agreement or in-house agreement, the legal hourly premium rates are the following:
An equivalent compensatory rest can replace, in whole or in part, payment for overtime. . In this case, the duration of this rest period is equivalent to the increased remuneration.
For any hours performed over the annual quota of overtime, a compensatory rest is mandatory.
In the absence of more favorable provisions provided by agreement, the premium is set at:
Employee representatives are involved at several levels in the regulation of working time.
Most topics relating to working time are divided into three parts by the Labour Code:
Employee representatives are involved in the negotiation of agreements on working time and the right to disconnect from work (late at night, over the weekend, etc.).
In addition, employers must inform and consult the Works Council (CSE) on matters concerning the organization, the management and general running of the company, in particular on: organization of working hours or new conditions of employment, major changes in health and safety conditions or working conditions.
This decision will not have any impact on French law since the employer already has to control employees' working time. Provisions concerning the evaluation of the workload of employees, not subject to hourly organization, are already in place in order to respect workers' health and safety requirements. French Judges verify the control of the working hours/professional workload to determine whether or not employers are complying with their obligations.
Markus Diepold
According to Section 17 para 1 Minimum Wage Act ("Mindestlohngesetz"), employers are subject to an obligation to record working hours if an employee:
Outside these statutory regulations, an employer in Germany only has to record the working time that exceeds the daily working time of 8 hours (sec. 16 para 2 Working Time Act – "Arbeitszeitgesetz"). However, this obligation can also be assigned to the employee.
In addition, obligations to record working time often result from collective bargaining agreements or works agreements (depending of the concrete working time scheme).
The obligation to record working time according to Section 17 Minimum Wage Act was partially restricted by the Federal Ministry of Labor and Social Affairs. The obligation does not apply in the following cases:
The Working Hours Act does not apply to managerial employees ("leitende Angestellte") and managing directors, who do currently not qualify as employees in the meaning of the Working Hours Act.
Special arrangements exist for employees working in the public service, aviation sector, inland waterway sector and road transport.
On basis of an agreement within the employment contract, it is possible to compensate overtime with the contractually agreed remuneration up to a certain premium (approx. 10 % of the weekly working time).
If the employee's income is above the assessable income limit within the statutory pension insurance (currently €80,400 gross/year in West Germany and €73,800 gross/year in East Germany), it is also possible to compensate all activities of the employee, including any overtime, with the payment of the remuneration.
Collective Bargaining Agreements often contain restrictive clauses on the possibility to perform overtime, and grant employees an additional payment for overtime.
German works councils ("Betriebsrat") have a very far-reaching right of co-determination in working time matters. For example, they must agree to company regulations concerning:
As German law is similar to Spanish law on the recording of working time, the decision of the EJC will have a short-term impact in Germany. Legislative changes are already under discussion.
In addition, it is already being discussed whether Section 16 Working Time Act must be interpreted in accordance with the EU Directive on Working Time (2003/88) meaning that any working time must be recorded.
In any case, for companies that have not yet had to record working time, the changes will lead to an increase in costs inter alia due to the purchase of software to record working time and its administration.
More significantly, staff costs are likely to grow, as employees will now increasingly claim overtime. All the more care should be taken to ensure that the costs for overtime are kept low by the correct contract design.
Anita Horváth
According to Section 134 of Act I of 2012 on the Labor Code, employers shall keep records of:
Records shall be updated on a daily basis and shall contain the start and end time of any regular and overtime work and stand-by duty.
Records of working time of employees working in stand-by jobs and employees who are relatives of the employer or owner shall be kept in accordance with their extended daily working time.
Overtime does not apply to senior managers (cadre supérieur).
Employers are under no obligation to keep records of working time in the case of:
Employees shall be entitled to a 50% wage supplement or to time off for overtime work performed (a) in addition to the daily working time shown in the work schedule; or (b) over and above the hours covered within the time banking arrangement or accounting period (where applicable).
Where overtime work is ordered on a scheduled weekly rest day (weekly rest period) or a public holiday, a 100% wage supplement shall be paid. The wage supplement shall be 50% if the employer provides compensatory weekly rest day (weekly rest period).
Rules regarding provision of equal time off:
Employment agreements may provide for the payment of fixed overtime fees in lieu of statutory wage supplements (employers shall keep records of duration of overtime nonetheless).
Collective bargaining agreements may not deviate from statutory rules on recording working time, but they may deviate from statutory rules on compensation for overtime work (i.e. calculation of wage supplements) and may elevate the yearly maximum overtime hours from 250 to 300 per employee.
A relatively recent amendment of the Labor Code has made it possible for employers to conclude individual agreements with employees on increasing the yearly maximum overtime by 150 hours (voluntary overtime).
Employees may terminate such agreements unilaterally at any time, with such termination taking effect at the end of the ongoing calendar year.
Hungarian employment regulation is generally compliant with Directive 2003/88 with regard to the recording of working time and overtime work. Labor inspectorates tend to scrutinize record-keeping obligations very strictly. Accordingly, we expect no significant impact on Hungarian employment regulations or on the practice of the Labor Authorities.
However, the CJEU judgement in case C‑55/18 may result in a review of the compliance of the Labor Code with Directive 2003/88 as regards some of the exemptions from working time recording, especially the exemption for job-sharing arrangements.
Davide Boffi
According to Italian law, the employer does not have any specific obligation to record working hours.
Working time is provided for by Legislative Decree no. 66, dated 8 April 2003, which sets a limit of 40 working hours per week as a normal working time, and by collective bargaining agreements if applied by the employer.
Not applicable.
Pursuant to art. 5 of Legislative Decree no. 66/2003, overtime discipline is set forth by collective bargaining agreements (CBAs) if applied by the employer.
If no CBAs are applied, overtime shall be allowed:
Overtime must be compensated by the wage increases provided for by the CBAs. As an alternative to, or in addition to, wage increases, employees may be entitled to compensatory rest periods.
The employer is entitled to request the performance of overtime from part-time employees, within the framework of provisions set forth by law and by the CBAs.
Overtime performed by executives or highly qualified employees (e.g. middle managers) shall not be compensated since these categories are not subject to any duration limit of the working time.
According to Italian law, CBAs can regulate the implementation of the rules on working time and overtime.
Furthermore, with regard to overtime, CBAs may provide for a prior consultation and periodic updates of the employees' representatives.
Italy has correctly implemented the European directives concerning certain aspects of the organization of working time (e.g. minimum periods of daily rest, weekly rest, annual leave, breaks and maximum weekly working time limits). Indeed, Legislative Decree no. 66/2003 provides for a specific discipline of all the working time aspects, including overtime.
Nevertheless, in light of the recent CJEU judgement in case C‑55/18, national regulations shall need to be implemented to introduce a general obligation for the employer to provide "an objective, reliable and accessible system enabling the duration of time worked each day to be measured", which is currently absent in the Italian statutory framework.
As pointed out by the CJEU, national law shall determine specific arrangements for implementing such a system.
Reasonably, the implementation of a system recording the duration of working time performed by the employees will likely lead to:
Christel Dumont
No. There is no statutory obligation in Luxembourg to record working time.
Overtime is:
The labor code only foresees two cases where overtime can be paid:
In specific cases, employers are obliged to notify or obtain authorization from the Labor Ministry (ITM: Inspection du Travail et des Mines) for overtime. In these cases, the employer shall request the opinion of the employee representative.
These cases are:
Legal reform might be necessary.
Eugenie Nunes
Yes, according to article 4:3 of the Dutch Working Time Act, the employer is obliged to keep a proper record of the working and rest times.
Under Dutch law, employees are entitled to the minimum wage for payment for overtime.
However, this does not apply if the salary divided by the total worked hours' amounts to at least the minimum wage (€1,615.80 gross per month as of 1 January 2019).
CBAs may not deviate from statutory rules on recording working time, they may however deviate from statutory rules on compensation for overtime work (i.e.: provide for arrangements in favor of the employee).
There is no legal impact, as employers are already obliged to keep a record of the working time.
Aleksandra Minkowicz-Flanek
Yes. According to the Polish Labor Code, employers, as a rule, must keep working time records for all employees.
This is in order to determine the correct monthly remuneration for work (including overtime pay) and other work-related benefits.
The manner in which such a working time register should be kept is however, not regulated by law.
The employer keeps a working time record for every employee, specifying, amongst others:
However, the employer is not required to register the working hours in case of specific groups of employees such as:
Overtime is compensated by:
Overtime allowance is:
The employer may also grant the employee time off in exchange for overtime work (in such a case, the employee is not entitled to overtime pay):
This may not reduce the employee's remuneration due for the full monthly working time.
Employees employed on a part-time basis are entitled to:
In the collective bargaining agreement or internal by-laws (remuneration rules), the employer may agree more beneficial conditions for employees than those set out by law in the.
If trade unions operate at the employer, the CBA and remuneration rules must be agreed with them.
Works Councils, if such exist at the workplace, are not involved in this process.
Polish law is generally compliant with the EU law in this respect and we do not expect any major amendments.
Tiberiu Csaki
Yes, Article 119 of the Labor Code requires the employer to keep a record of daily working hours for each employee. The record must indicate the start and end of the working time.
Moreover, the record may be subject to the control of the labor inspectors, and the sanction for those who fail to comply is between 1,500- 3,000 RON, according to article 260.
The employer must keep records of the hours worked by each of the mobile employees or the employees who work from home according to the terms and conditions agreed with the employees and depending on the specific work they carry out.
No exemptions.
According to Article 122 and 123 of the Labor Code, overtime must be compensated with paid time off within 60 calendar days after the performance of the overtime.
If the compensation with paid time off is not possible within 60 calendar days, the employee is entitled to receive an allowance calculated pro rata according to the overtime period.
The overtime allowance amount is negotiated and included either in the applicable collective labor agreement or in the individual labor contract, as the case may be, and cannot be lower than 75% of the base salary.
In the absence of a union, employee representatives may negotiate the overtime allowance amount to be included in the collective labor agreement.
No impact, the obligation to record the working time has been already implemented in Romania since 2017.
Marina Ryzhkova
Yes. According to Art. 91 (4) of the Russian Labor Code, an employer is obliged to keep a record of time worked by each employee.
Under Art. 152 of the Russian Labor Code, the first two hours of overtime shall be compensated by not less than one and a half times the amount, for subsequent hours – not less than twice the amount. Specific measures of payment for overtime work may be determined by the collective bargaining agreement, local normative act, or employment contract.
Instead of higher payment, employees may request additional vacation to compensate for the overtime, but not less time than the overtime worked.
Under Russian law, the employer must obtain written consent to the overtime from employees, and take into consideration the opinion of the elected body of the primary trade union (if any).
If written consent of employees has been obtained, the employer is not obliged to take opinion of the elected body of the PTU into consideration in limited cases, namely:
Thus, if the employer is unionized, it would be required to consider the opinion of the PTU before asking employees to work overtime.
Not applicable, as Russian law is not subject to EU Directives.
Linda Mendelová
The employer is also obliged to keep a record for temporarily assigned employees at the place of work of those employees.
There are no exceptions to the statutory obligation to record working time for employees working based on an employment contract.
However, for employees working based on agreements other than an employment contract, there are the following exceptions:
Overtime is work performed by an employee, on the instruction of the employer or with the employer's consent, which exceeds the standard weekly working hours (max. 40 hours), outside the standard schedule of working hours and shifts.
An employee may be ordered to work a maximum of 150 hours of overtime work within one calendar year. The employee can work another 250 hours of overtime work within a calendar year upon agreement with the employer, so the total scope of overtime for an employee is 400 hours per calendar year.
The total scope of overtime work may not exceed on average 8 hours per week calculated over a period of no more than 4 consecutive months, unless a period up to 12 months is agreed with the employees' representatives.
An employee is entitled to its wage, plus a premium of at least 25% of his/her average earnings (35% for employees performing risky work) for overtime hours worked. Alternatively, the employer and the employee can agree that instead of the premium for overtime work the employee will take compensatory time off equivalent to the overtime hours worked.
With managerial employees it is possible to agree in writing that the payment for overtime work is included in his/her salary up to 150 hours per calendar year.
The extent and conditions for overtime shall be introduced upon agreement with employees' representatives.
The Slovak Labor Code is generally compliant with Directive 2003/88 as regards recording of working time and overtime work and with the CJEU judgement in case C‑55/18.
The current Slovak case law also tends to interpret this obligation of the employers rather widely. Thus, we expect no significant impact of this ruling on the Slovak labor law relations.
Juan Ignacio Alonso Dregi
Spain has set out the obligation to register the working hours of the employees of a company in the Royal Decree-law 8/2019 on urgent social measures of protection and fight against job insecurity in the working day. The Royal Decree was enacted on 12 March 2019, and entered into force one month later, to give companies time to understand the requirements and implement the workday registration system.
As of 12 May 2019, all companies are obliged to register employees´ working hours and to put in place a record system.
This new law has raised doubts on behalf of both employers and workers regarding its implementation. So on 13 May 2019, the Ministry of Labor, Migration and Social Security published a guide on the registration of working hours, in order to facilitate the practical application of the Royal Decree-law.
However, employers were already obliged to register overtime according to article 35.5 of the Workers' Statute ("Spanish Labour Law").
Currently, the only admitted exemptions are for:
The implementation of time control does not allow exceptions beyond those established in the Royal Decree-law or recognized by the Ministry's guide. However, the guide represents only a practical tool and the courts will have the final word in this regard.
Everything that surpasses the agreed working time with the employer, whether through an individual agreement, company agreement or collective bargaining agreement, is considered overtime. In this case, companies should agree with the workers and guarantee compensation, in additional time off or in additional payment. There are maximum limits in quarterly and/or annual computation of overtime hours (maximum of 80 hours yearly in accordance with art. 35.2 of the Workers' Statute, although by collective agreement a lower maximum number of hours can be established).
In any case, the employers shall comply with the provisions of the applicable collective agreement regarding the calculation of working time, annual limits, compensation of overtime, breaks, displacements, etc. For instance, some collective agreements establish the summer workday, which implies fewer hours worked per year.
According to the Royal Decree-law, the implementation of the registration system has to be carried out through a "collective bargaining or company agreement or, failing that, decision of the employer after consultation with the legal representatives of the workers in the company". In this sense, article 64.1 of Workers´ Statute establishes that "consultation means the exchange of opinions and the opening of a dialogue between the employer and the works council on a specific issue, including, where appropriate, the issuance of a prior report by the same."
The introduction of the registration of working hours aims to guarantee compliance with the limits on working hours and create a framework of legal security for both workers and companies.
The new law will\ enable control by the Inspection of Work and Social Security, in order to correct the situation of precariousness, low wages and poverty that affects many of the workers who suffer abuses in their workday.
Non-compliance with the obligation to record working time is a serious infringement, carrying administrative fines ranging from €626 to €6,250.
Galip Selcuk
There is no statutory obligation in Turkey to record working time.
Under the Turkish Labor Law No. 4857, overtime work is defined as any work performed beyond the normal working hours in a week (i.e. 45 hours). If the employee works more than 45 hours in a week, he/she is entitled to overtime payment.
In companies, where salaries are paid on a monthly basis, the hourly salary is calculated first and then overtime work is remunerated in accordance with one and half times that hourly rate (i.e. salaries for each hour of overtime include an additional payment of 50% of the normal hourly salary). The payments for overtime work must be made at the end of the relevant month, when the employees' salaries are deposited into their bank account and the payrolls/payslips have to be issued accordingly by the employer.
The employee performing overtime work may choose to use free time of "1 hour and 30 minutes" for each hour of overtime work, instead of overtime payment. If the employee chooses the free time, he/she must submit this request to the employer in writing. The employer must allow the employee to use the requested free time within six months of the day when the overtime work was performed.
The employee's prior written consent is necessary for overtime work, and it can be included in the employment agreement or obtained separately.
According to the Court of Appeals' decisions on overtime work, if:
Therefore, depending on the amount of the salary and overtime work hours, the existence of such a clause may be sufficient to counter employee claims for payment of unpaid overtime work.
If the overtime wages are not duly paid, an employee is entitled to terminate the employment agreement based on just cause and to request severance compensation and the unpaid overtime work wages together with the accrued interest within the 5 years from the due date.Depending on whether or not the payslips include accrued overtime work hours and employees' signatures, the employees may prove overtime work even through witness statements.
Ryan Carthew
Yes. Regulation 9 of the Working Time Regulations 1998 provides that employers must keep records of working time. The records must be sufficiently adequate to demonstrate compliance that the Regulations' requirements relating to maximum weekly working time, maximum weekly working time for young workers, limitations on night work, limitations on night work of young workers, health assessments of night workers and rotating night workers to day work.
There is a statutory requirement to retain these records for a minimum of two years.
Record keeping requirements only apply to the extent that the relevant statutory requirements apply. There are various categories of workers who are either wholly or partially exempted from the requirements of the Regulations.
Further, some statutory requirements (for example, maximum weekly working hour requirements) can be excluded from application by agreement with employees. In these circumstances, there is no requirement to keep records. Further, there is no requirement to keep records of time, which does not qualify as "working time" under the Regulations.
There is no statutory obligation for employers to pay overtime if an employee has fixed hours he or she is not automatically entitled to extra payments for work performed in excess of normal hours. If an employee is paid by the hour, there is no statutory right to special rates for work performed in excess of normal hours, nor at a particular time.
An employee will only be entitled to overtime payments and/or penalty rates if this right is set out in their employment agreement, or in a collective agreement, which applies to their employment.
If trade unions are recognized by an employer (voluntarily or via the applicable statutory procedure) they will be entitled to propose agreement on arrangements relating to working time and overtime, which can be included in the terms of a collective agreement applicable to one or more employers. This can be agreed by negotiation or arbitration if arbitration is agreed. However, outside the public sector only a small percentage of employees are subject to recognized trade union arrangements and/or collective agreements.
This decision applies more stringent requirements on the recording of working time than has been applied by UK legislation. The UK Regulations only refer to the requirement to keep "adequate" records and to not explicitly require employers to record data to show that daily and weekly rest periods requirements are being complied with. The ECJ decision makes it clear that there must be an accurate system to measure the time worked by workers each day to ensure that rights can be enforced, irrespective of the terms of their contracts. This will mean more stringent time recording requirements while the UK remains in the European Union.
Volodymyr Monastyrskyy
Employers have an obligation to record the time worked by an employee.
There are three types of time record:
A daily record applies when the daily duration of the work is the same each day.
A weekly record applies when the daily duration of the work varies by days, but the entire duration cannot exceed 40 hours per week.
An accrual record applies when business process cannot be interrupted and a daily or weekly record of time cannot be established for this reason. The accrual record period can be decade, quarter, six months, period of agricultural works, duration of maritime tour etc. The duration of rest between the shifts may not be less than twice the duration of the preceding shift.
Overtime work is work performed by an employee on the instruction of the employer, which exceeds normal working hours. As a rule, normal working hours constitute 40 hours per week.
Overtime is paid at double rate.
Overtime requires instruction of the employer and consent of the trade union (if created).
Overtime cannot exceed 4 hours during two consecutive days and 120 hours per annum.
Overtime can be applied in limited cases only and is not permitted for a woman who is pregnant or has minors under 3 years old, minors under 18 years old and students of general or vocational schools.
Overtime is permitted upon consent of:
Not applicable, as Ukrainian law is not subject to EU Directives.
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INPROL Publications
July 28, 2009
June 22, 2009
The process of globalization is intertwining the legal systems of all nations, making an understanding of our differences and similarities a useful, if not essential, tool for working in this new global environment. In terms of the post-conflict reconstruction and development projects, there are two predominant legal cultures involved in providing technical assistance...
March 16, 2009Forced Displacement and Housing, Land, and Property Ownership Challenges in Post-Conflict Reconstruction
July 1, 2008
INPROL Consolidated Response to a Query posted by Robert Bereiter, Training Coordinator, Police Education Unit, Law Enforcement Department to the OSCE, regarding educating communities about policing in a democracy.
May 14, 2008
INPROL Consolidated Response to a Query posted by Richard Monk, INPROL Experts Council Member, regarding job descriptions for FPU team members.
April 4, 2008
INPROL Consolidated Response to a Query posted by Anaïs Salvin, Facilitator, Criminal Law and Judicial Advisory Section, Office of Rule of Law and Security Institutions, UN Department of Peacekeeping Operations, regarding witness protection in countries emerging from conflict.
February 25, 2008
INPROL Consolidated Response to a Query posted by LTC Don Bohn, U.S. PKSOI, regarding the establishment of Standard Training Modules for Formed Police Units.
November 29, 2007
October 4, 2007
This is the consolidated response to the Rule of Law Query on South Sudan Police Acts.
The UN is helping the government of South Sudan to draft a Police Act that will enumerate powers and duties of state and local police. The South Sudan legal system has common law roots and the Sudanese drafters seek to draw from model experience in the region as well as...
July 14, 2007


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The Immune System
Today I will discuss with you a very important topic , the immune system. Do you know why it's so important, to have this system. You will have a chance to answer this question and answer more that you might have about this vital system..You will be able to learn about the immune system and and how it functions.The three lines of defense will be identified, as well as the body's reaction to antigens will also explained.
Disease-causing organisms like bacteria, viruses, and parasites are examples of antigens; toxins and any other substance that stimulate an immune response.
Check the power point presentation for more information.


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Today is the official release date of THE NEW BLACK! This neo-noir anthology is the first I've ever edited and it's also the first Dark House Press title. I'm honored that so many gifted authors were willing to be a part of this book. I can't thank them enough for taking the time, and for supporting this title, and the press. It's getting great reviews everywhere, too. If you're thinking of picking up a copy, consider doing so today, so maybe we can push it up the charts. If this book does well, and Dark House Press succeeds, we can continue to publish the kind of neo-noir, speculative fiction that needs to be read and experienced. Foreword by Laird Barron, with stories by Brian Evenson, Stephen Graham Jones, Craig Clevenger, Paul Tremblay, Lindsay Hunter, Roxane Gay, Kyle Minor, Benjamin Percy, Roy Kesey, Craig Davidson, Matt Bell, Richard Lange, Micaela Morrissette, Joe Meno, Vanessa Veselka, Nik Korpon, Antonia Crane, Rebecca Jones-Howe, Tara Laskowski, and Craig Wallwork. There are also 15 interior illustrations by Luke Spooner of Carrion House. Feel free to share this news, and to spread the word. THANK YOU!
Tag Archives: Roxane Gay
The first blurb for THE NEW BLACK is Jack Ketchum
The first blurb for THE NEW BLACK, a neo-noir anthology that I edited for Dark House Press, is now in. It's from horror giant, Jack Ketchum:
"THE NEW BLACK ought to be the New High Standard for dark fiction anthologies. It's loaded with intelligence and talent. Every one of the pieces in this extraordinary compilation is worthy of your full attention."—Jack Ketchum
Thrilled to have this excellent blurb. This book will be out in May, with a foreword by Laird Barron. Stories by Brian Evenson, Stephen Graham Jones, Craig Clevenger, Paul Tremblay, Lindsay Hunter, Roxane Gay, Kyle Minor, Benjamin Percy, Roy Kesey, Craig Davidson, Matt Bell, Richard Lange, Micaela Morrissette, Joe Meno, Vanessa Veselka, Nik Korpon, Antonia Crane, Rebecca Jones-Howe, Tara Laskowski, and Craig Wallwork. 15 interior illustrations by Luke Spooner of Carrion House. Cover design by Alban Fischer.
Book Covers: Work Edited and/or Published by Richard Thomas
I wanted to start a list of the beautiful book covers that I've either edited or published or both. I hope you enjoy the art and if you want more information, I've included links to Amazon, for those books that are already on the website. They are in reverse chronological order.
UPDATED: July, 2016
Scratch by Steve Himmer
Publisher: Dark House Press
Cover Art: Alban Fischer
Design/Layout: Alban Fischer
Release Date: October 11, 2016
Paper Tigers by Damien Angelica Walters
Publisher: Dark House Press Cover
Cover Art: Alban Fischer
Design/Layout: Alban Fischer
Release Date: February 29, 2016
Vile Men by Rebecca Jones-Howe
Publisher: Dark House Press
Cover Art: Alban Fischer
Design/Layout: Alban Fischer
Release Date: September 8, 2015
Exigencies, edited by Richard Thomas (anthology)
Publisher: Dark House Press
Cover Art: Daniele Serra
Design/Layout: Alban Fischer
Release Date: June 9, 2015
Stories by David James Keaton, Letitia Trent, Kevin Catalano, Usman Malik, Faith Gardner, Axel Taiari, Damien Angelica Walters, Kenneth Cain, Amanda Gowin, Jason Metz, Joshua Blair, Rebecca-Jones Howe, Brendan Detzner, Sarah Read, Bill Johnson, Barbara Duffey, Adam Peterson, Marytza Rubio, Nathan Beauchamp, Heather Foster, Alex Kane, and Mark Jaskowski.
The Doors You Mark Are Your Own by Okla Elliott and Raul Clement (novel, trilogy)
Publisher: Dark House Press
Cover Art: George C. Cotronis
Design/Layout: Alban Fischer
Release Date: April 28, 2015
The Lineup: 20 Provocative Women Writers, edited by Richard Thomas (anthology)
Publisher: Black Lawrence Press
Cover Photo: Jennifer Moore
Foreword: Alissa Nutting
Release Date: November 1, 2015
Stories by Laura Benedict, Paula Bomer, Karen Brown, Shannon Cain, Kim Chinquee, Monica Drake, Kathy Fish, Amina Gautier, Tina May Hall, Nancy Hightower, Jessica Hollander, Holly Goddard Jones, Stacey Levine, Kelly Luce, Nina McConigley, Janet Mitchell, Ethel Rohan, Karin Tidbeck, Damien Angelica Walters, and Claire Vaye Watkins.
After the People Lights Have Gone Off by Stephen Graham Jones (stories)
Publisher: Dark House Press
Introduction: Joe R. Lansdale
Cover Art: George C. Cotronis
Interior Illustrations: Luke Spooner
Design/Layout: Alban Fischer
Release Date: September 30, 2014
WINNER: Best Short Story Collection of the Year, This is Horror
NOMINATED: Best Short Story Collection of the Year, Bram Stoker Awards
NOMINATED: Best Short Story Collection of the Year, Shirley Jackson Awards
Burnt Tongues, edited by Chuck Palahniuk, Richard Thomas, and Dennis Widmyer (anthology)
US Publisher: Medallion Press / UK Publisher: Titan UK
Introduction: Chuck Palahniuk
Cover Design: US – Jay Shaw
Release Date: US August 12, 2014 / UK September 5, 2014
Stories by Neil Krolicki, Chris Lewis Carter, Gayle Towell, Tony Liebhard, Michael De Vito, Jr., Tyler Jones, Phil Jourdan, Richard Lemmer, Amanda Gowin, Matt Egan, Fred Venturini, Brandon Tietz, Adam Skorupskas, Bryan Howie, Brien Piechos, Jason M. Fylan, Terence James Eeles, Keith Buie, Gus Moreno, and Daniel W. Broallt.
WINNER: Best Anthology of the Year, This is Horror
GOD MEDAL WINNER: Best Anthology of the Year, INDIEFAB
NOMINATED: Best Anthology of the Year, Bram Stoker Awards
Echo Lake by Letitia Trent (novel)
Publisher: Dark House Press
Design/Layout: Alban Fischer
Photography: Helena Kvarnstrom
Release Date: July 22, 2014
The New Black, edited by Richard Thomas (anthology)
Foreword: Laird Barron
Publisher: Dark House Press
Design/Layout: Alban Fischer
Interior Illustrations: Luke Spooner
Date: May 13, 2014
Stories by: Brian Evenson, Stephen Graham Jones, Craig Clevenger, Paul Tremblay, Lindsay Hunter, Roxane Gay, Kyle Minor, Benjamin Percy, Roy Kesey, Craig Davidson, Matt Bell, Richard Lange, Micaela Morrissette, Joe Meno, Vanessa Veselka, Nik Korpon, Antonia Crane, Rebecca Jones-Howe, Tara Laskowski, and Craig Wallwork.
NOMINATED: Best Anthology of the Year, This is Horror (2nd Place)
My essay, "Ten Essential Neo-Noir Authors" is live at Flavorwire.
My essay "Ten Essential Neo-Noir Authors" is up at Flavorwire in case you missed it. What exactly is "neo-noir" and who are the voices you absolutely have to know? Click on through and read up. Maybe you'll recognize the names and maybe you won't, but these are some of the most powerful authors writing and publishing today, and some of my favorite voices as well. They'll all been major influences on my own writing, and I encourage you to pick up their work ASAP.
Complete List of Online Interviews with Richard Thomas
This is a list of all of the interviews that I've done online over
the years, in reverse chronological order.
Last Updated: December 16, 2019
At NFReads.com by Tony Eames (12/16/19)
At Kendall Reviews by Gavin Jefferson (7/30/19)
At Inkheist by Shane Douglas Keene (5/6/19)
At Digital Media Ghost by Will Viharo (12/18/18)
At Gaheena and Hinnom by Joe Mynhardt (10/16/17)
At Crystal Lake Publishing by Joe Mynhardt (7/25/17)
At Dwarf + Giant by Mackenzie Kiera (6/1/17)
At Crystal Lake Publishing by Joe Mynhardt (5/20/17)
Author Spotlight at 13Dark by Joseph Sale (4/20/17)
At STORGY by Joseph Sale (1/1/17)
At Shotgun Honey by Ron Earl Phillips (2/28/16)
At The Lit Pub by Megan Paonessa (2/22/16)
At Across the Margin podcast by Tristan Kneschke (2/20/16)
At Pantheon Magazine by Sarah Read (2/19/16)
At Splatterhouse5 by Adrean Messmer (2/13/16)
At Larina Warnock's Blog (2/13/16)
At Starburst by PM Buchan (2/11/16)
At the Drinking with Jason (Brant) podcast (2/10/16)
At Dead End Follies by Benoit Lelievre (2/10/16)
At My Bookish Ways by Kristin Centorcelli (2/10/16)
At The Martin Lastrapes Show podcast (2/8/16)
At The Darkness Dwells podcast with Jason White (2/8/16)
At Goreyesque by Todd Summar (2/8/16)
At Dread Central by Brent R. Oliver (2/5/16)
At Bizarro Central by Jeremy C. Shipp (2/5/15)
At This is Horror podcast by Michael Wilson & Bob Pastorella (2/3/16)
At Arcadia by Chase Dearinger (2/2/16)
At Horror Tree by Stuart Conover (2/1/16)
At Cultured Vultures by Jay Slayton-Joslin (2/1/16)
At Entropy by Peter Tieryas (2/1/16)
At This is Horror podcast with Michael Wilson & Dan Howarth (1/25/16)
At Mangled Matters by Justin Hamelin (9/17/15)
At Cultured Vultures by Jay Slayton-Joslin (7/10/15)
At Kari Wolfe's Blog by Kari Wolfe (6/5/15)
At Thrillers With Attitude by LG Thomson (6/4/15)
At LitReactor by Keith Rawson (5/26/15)
At Hellnotes with Gordon White (Deep Cuts, "Asking for Forgiveness") (3/13/15)
At This is Horror podcast (THREE of THREE) by Michael Wilson & Dan Howarth (2/24/15)
At This Is Horror podcast (TWO of THREE) by Michael Wilson & Dan Howarth (2/17/15)
At This Is Horror podcast (ONE of THREE) by Michael Wilson & Dan Howarth (1/6/15)
At Hellnotes with Gordon White (11/21/14)
At Writing in a Dead World by Raymond Esposito (6/3/14)
At My Bookish Ways by Kristin Centorcelli (5/1/14)
At This Is Horror by Michael Wilson & Dan Howarth (1/15/14)
At The Time Warriors by Owen Quinn (12/10/13)
At Radikal News by Renato Bratkovic (12/2/13)
At Cease, Cows by Heather L. Nelson (9/12/13)
At Solarcide by Martin Garrity (6/7/13)
At Mourning Goats by The Goat (5/10/13)
At Ginger Nuts of Horror by Jim Mcleod (4/4/13)
At Midwestern Gothic by Robert James Russell (4/2/13)
At The Qwillery by Sally Janin (3/22/13)
At Unnecessary Musings by J.A. Beard (3/15/13)
At Creative Writing Help by Tracey Tressa (3/8/13)
At Leah Rhyne's blog by Leah Rhyne (2/22/13)
At Out of the Gutter by Ryan Sayles (10/11/12)
At The Slaughterhouse by Richard Godwin (4/30/12)
At Slit Your Wrists Magazine by Laurance Kitts (4/14/12)
At Jay Slayton-Joslin's blog by Jay Slayton-Joslin (2/15/12)
At Solarcide by Nathan Pettigrew (1/26/12)
At Sea Minor by Nigel Bird (6/21/11)
At PANK by Roxane Gay (4/22/11)
At Yahoo Voices by Brian Alaspa (2/8/11)
At Leodegraunce by Jolie du Pre (1/3/11)
At The Write Place by Simon West-Bulford (10/28/10)
At Word Riot by Pela Via (10/15/10)
At 3:AM Magazine by Gregory Frye (9/28/10)
At Bitten by Books by Rachel Smith (7/19/10)
At The Cult by Brandon Tietz (3/30/10)
At Craig Wallwork's blog by Craig Wallwork (1/26/09)
Storyville Column is up – Top Ten Authors You've Never Heard Of Before
Where to start, yeah? For this column I talk about ten powerful voices in contemporary literature that you may never have heard of before. Each one of these voices is somebody that has impressed me with their words, destroyed me with the honesty and emotion, and become a name that I will follow for the rest of my life. Head on over to see what I say about them, but here are the names anyway: Matt Bell, Tina May Hall, Craig Davidson, Holly Goddard Jones, Kyle Minor, Roxane Gay, Benjamin Percy, Lindsay Hunter, Alan Heathcock, and xTx. There's something here for everybody, but know this: they all take risks, and they all hold nothing back.
Dueling Columns 3 – MFA Programs: Yes or No, with Caleb J. Ross
Dueling Columns – To MFA or not to MFA
This is a guest post by CalebJRoss (also known as Caleb Ross, to people who hate Js) as part of his Stranger Will Tour for Strange blog tour. He will be guest-posting beginning with the release of his novel Stranger Will in March 2011 to the release of his second novel, I Didn't Mean to Be Kevin and novella, As a Machine and Parts, in November 2011. If you have connections to a lit blog of any type, professional journal or personal site, please contacthim. To be a groupie and follow this tour,subscribe to the CalebJRossblogRSSfeed. Follow him on Twitter: @calebjross.com. Friend him on Facebook: Facebook.com/rosscaleb
AGAINST MFA PROGRAMS – Caleb
In the third installment of Richard Thomas's Dueling Columns series, he and I stake our positions on the idea of an MFA. At this point in my life, I land in the "not to MFA" group.
First, a bit of context. Richard has an undergrad degree in Advertising and Communications with a minor in Psychology. He is currently pursuing an MFA. I have an undergrad degree in English Lit with a minor in creative writing. I am not currently pursuing an MFA. Why is this important? To show that I am coming at this question of education with a different educational history than Richard. Furthermore, as far as I am aware, Richard's goal is to teach creative writing at a college level. An MFA is a requirement to do so. I do not want to teach. So I must argue this as though he and I are both looking at the MFA as a way to develop one's creative writing abilities, not as a way to ensure a career in academia. If you want to be a professor, you can stop reading now; there really is no pro vs con debate.
So, with all of those qualifiers out of the way, let's get into the meat of the duel.
Cost analysis
At its core, an MFA program is an extension of the traditional 4-year undergrad program, and in being so carries financial and structure burdens similar to that of an undergrad program. What we are looking at then is cost. Basically, the cost of an MFA includes two things: connections and time. You'll meet many famous writers and you'll be forced to write. Both of these things are necessary for a serious writer. But, neither of these things is the sole intellectual property of the MFA program. For any serious writer, MFA or no, connections and productivity are things that will come as a result of dedication. Using my experience as an example (a sample size of one, I know, dangerous), within the first two years of post-undergrad life (2005-2007), I completed three novel-length manuscripts (two of which are to be published in 2011), became an editor at Outsider Writers Collective (where I've interacted with some of the best independent writers around), contributed book reviews to a variety of online zines, participated in Write Club (which surpassed my undergrad workshops in many ways, but not all ways), and met Richard Thomas (which ultimately led to my book being published by Otherworld Publications). Roxanne Gay, in ablogpostatHTMLGiant about this very topic of MFA, sums up my opinion nicely: "I do believe one should never pay for graduate school but that a graduate education is awesome."
I feel any higher education in the liberal arts should focus as much on the how tos as the whys. From what I know of MFAs, there is a large why focus, specifically in regards to pedagogy, which is great. A good writer can write. A great writer can think. But again, if you have the passion to be a great writer, you'll seek out the whys on your own. Does this mean an MFA is essentially a writing desk with a $30,000 gun to your head? Yeah.
Craft analysis
I don't believe that the MFA program offers anything in terms of learning how to tell a story that an adequate undergrad program can't offer. Continuing with my personal experience as an example, it may be that my undergrad experience was so great that I gained what I would consider the equivalent of an MFA (in terms of education, not in terms of papered credentials). My professor, Amy Sage Webb, continues to be one of my strongest supporters, and without her I may very well have moved right into an MFA program after undergrad. Though ironically enough Amy pushed me almost daily to pursue graduate school; perhaps in a strange Socratic way. What I learned as an undergrad, when weighing the pros/cons of grad school, is what Lincoln Michel, Master of Fine Arts and co-editor of Gigantic Magazine says in his reaction piece to ElifBatuman'santi–MFAreview "bookreview": "Studyingandcritiquinganartformisn'tthesameaspracticingit." MFA programs train students to study and critique writing. The craft itself can be learned elsewhere. Sure, there's a thesis/novel to be written during a two-year program, but any writer worth his own cramped knuckles will produce a manuscript in two years.
I have to end by admitting that this opinion isn't one I intend to keep, unchanged, for the rest of my life. I may want to teach one day. In fact, I'd be surprised if I didn't attempt to teach someday. At that time, I'll be in line for my MFA. But professorial aspirations aside, MFA's just aren't worth the time and financial investment.
- An MFA may guide a student more directly than self-navigation through the vast land of education, but at a great financial cost
- An MFA is necessary for teaching at a college. I think this is the case all around, but correct me if I am wrong.
- Given the right undergrad program, one can learn just as much in terms of how tos and whys without pursuing an MFA.
- If you want to be a great writer you will be a great writer; no MFA necessary
- The internet makes it almost impossible not to network with established writers; no MFA program necessary.
FOR MFA PROGRAMS – Richard
As Caleb mentioned in his column, if you want to teach at the university level, then you must get an MFA. And at many fine universities, you may need a PhD these days as well. In addition to that, most schools want you to have at least one published novel or short story collection (the bigger and better the press, the greater the recognition) as well as many stories published in the best journals and magazines in the country, and some teaching experience as well. But we're not talking about that today, we're talking about everything else that comes with your MFA experience and why you should spend the time, money, and effort to get an MFA. Here's what I think about it all.
Forced Reading and Analysis
I know it seems like a horrible thing to say, but if you have deadlines, and if you're spending money on something, you will most likely pay attention and work hard at it. If you have to turn in a short story, an annotation (based on a novel or collection that you had to read first, of course) by the end of each month, you are going to do it. I certainly do write stories on my own, and without deadlines, but I can honestly say that having a word count, a book (or two) to read each month, it kept me producing. My low-res MFA program down at Murray State University in Murray, Kentucky (where I'm just finishing up my studies) really pushed me—to write, to read and to analyze. I doubt I would have done this on my own. Maybe I would have, but the forced requirements left me no room to play around. And since I did pay for my MFA, no grants, scholarships or other aid, I took it seriously.
Working Outside of Your Comfort Zone
I can honestly say that there are many authors that I definitely would not have read if it wasn't for my MFA program. While we did have the ability to pick our books to read over the course of each semester (7-11 titles), some of what my professors asked me to read were not up for discussion: the Norton Anthology of Short Fiction, The New Yorker, and the Best American Short Stories anthology series. I read a wide range of authors that really helped me to see what the literary landscape is like today, as well as in the past hundred years or so. For our fiction genre lectures as well, we read Poe, Murakami, McCarthy, and many other authors that I either didn't know very well, had read some of their work, or were totally new to me. Since my undergraduate studies at Bradley University were in Advertising/Communication, I was lacking in my literary studies. Between the work I found on my own (Holly Goddard Jones, Mary Gaitskill, Flannery O'Connor, Ron Rash), the work that was assigned, and the authors that I already loved, and decided to re-read or dig into deeper, the scope of my reading and analysis was much wider than I would have assigned to myself on the outside, in the real world. That's something to consider.
Mentors, Professors and Peers
I studied under Lynn Pruett my first semester and she really helped me to hone in on the authors I already enjoyed and to write the first half of my second neo-noir novel (Disintegration) which I'm shopping now. But it was studying under Dale Ray Phillips (nominated for a Pulitzer Prize) that I really pushed myself. Or maybe I should say—was pushed. DRP got me away from the crutches and tricks that I used in my genre writing, where I often leaned heavily on sex and violence and the occasional twist ending, exploring fantasy, horror, crime, neo-noir, you name it. He wanted straight literary stories where nobody died at the end. What was his big line to me? Leave the slow reveal to the strippers. It was hard—really hard. I had to focus on the story, and the classic structure of a story, find my narrative hook, explore the conflicts in the lives of my characters, and bring it to a satisfying end. Above and beyond these two professors, I talked to many talented authors, teachers, and guest authors, who really enlightened me on so many subjects, as well as a gifted group of fellow fiction writers, poets, and essayists.
Guest Authors
I was talking to some author friends at a recent residency I was awarded (Writers in the Heartland) and I mentioned to the poet that I was constantly surprised by how much I enjoyed the guest poets at MSU. The same goes for a lot of the non-fiction authors. I was always surprised at how talented all of the guests were, from fiction writer Richard Bausch making me cry with his emotional truths, and essayist Heather Sellers making me laugh with her stories of facial blindness, to poets Linda Bierds and Alice Friman showing me the power of poetry, and journalist Nick Reding exploring the haunting world of crystal meth and addiction. The readings blew me away and the craft lectures were always enlightening and educational.
Do you need an MFA to write? No, you do not. You are certainly, if you are driven enough, capable of reading extensively, publishing widely, and studying on your own. But if you want to work with published authors in an environment with your peers, and get that extra push you may need to read, write and publish, then an MFA is a great place to study and create. I really enjoyed my time at MSU, and this program is still a relatively unknown and emerging program. If you can get into a top program, and get some financial aid, and especially if you are still unencumbered by a wife or husband and a household full of children, then I can't think of a better way to massage your voice and grow as an author.
Thanks, Caleb for being a guest today. Pick up ^ this book today, people.


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Did you know that by graduating from the University of Georgia, you are automatically considered a "member" of the UGA Alumni Association and our local alumni chapter?
There are more than 9,300 alumni and friends living in the area. Help us keep the Bulldog Spirit alive here by attending an event or getting involved in the community. Join the listserv and update your contact information so we can keep you informed of activities in your area.
The Forsyth Area Chapter includes Forsyth County. Everyone is invited to participate in local events regardless of his or her place of residence.
Chapter Leaders
Gary Orris
PresidentUGA Alumni Association
Deirdre Macbeth
Vice PresidentUGA Alumni Association
Meredith Pelayo
Co-Director of Events & Game Watching PartiesUGA Alumni Association
Jessica Johns
Co-Director of Events & Game Watching PartiesUGA Alumni Association
Amanda Shires
Co-Director of CommunicationsUGA Alumni Association
Derek Watson
Co-Director of CommunicationsUGA Alumni Association
Katie Hildreth
Affinity RepresentativeUGA Alumni Association
Standards of Excellence - Silver Level
- 2007-2008


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You are what you eat, and what you are eating ate!
Note: Our cart is closed for the Winter season of '19-'20; see you in the Spring ...
Given the profound impact diet has on health; the ability to make appropriate food choices consistent with your individual goals outside the home is far too complicated. Regardless of the dietary choices you wish to make, having confidence in the outcome is difficult - if not impossible!
As within our own family, individual dietary choices will vary. Be it philosophical, religious, medical, or other consideration guiding your nutritional food choices - clarity is a prerequisite for confidence you are achieving your goals. As we developed Nature's Food Cart (similarly with Nature's Prepared Foods), we addressed a number of difficulties in this process by incorporating three core principles effecting the issue of clarity affecting us all. Namely a clear delineation of the:
- Ingredients which have been incorporated into a dish.
- Provenance of the ingredients; where did they come from, and the manner in which they were produced.
- Preparation Techniques utilized in the composition of a dish.
- Cuisine choices suitable to demonstrate, and highlight, the superior quality of our products. Less is often more ...
At Nature's, we choose to:
- Use Nature's own Pastured Meats to address provenance of protein sourcing and quality.
- Use Organic and/or locally grown produce free from industrial agricultural contaminants.
- Avoid the use of sugar.
- Avoid the use of industrial vegetable and hydrogenated oils.
- Avoid the use of preservatives, or other chemical ingredients.
- Avoid the use of starchy fillers for perceived value.
We want you to have confidence that:
- You are finding healthful choices in all our foods.
- You are supporting local food production within your community.
- You will have access to moderately priced foods of exceptional nutritional value.
- You will find accommodation for multiple dietary protocols.
- We will do our best to meet your requests in individualizing the preparing of your food.
- In exploring new food choices, you will have a pleasant experience
With thoughtful ingredient selection and preparation, we focus on the details of providing tasteful nourishment. Learn more, and come taste the difference quality food dishes can make in providing nutritious healthy meals to yourself and your family.


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Sunday, November 04, 2012
What does one do on this journey when it feels as if theraphy is needed to focus for a full day and follow through with a committed plan? Well, maybe blogging, putting feelings before this community, evaluating daily behaviors, and moving forward in spite of setbacks.
For the past few days I've wondered around SP and watched some videos of two very committed young ladies who have really remained focused and are losing weight daily. All of this is so inspiring and one wonders if the moon has to be right or if one must do what one says he or she will do. Yes, sometimes I feel as if distractions makes one a liar.
Today is another day to seek perfection. Yes, I said perfection: staying in my calorie range, eating good foods, exercising, posting, and feeling as if I have not let myself down. I don't know about you all, but sometimes I wonder what is behind this inability to follow through. At one point I decided that when it comes to food that I was a spoiled brat who does what one wants to do and is not accountable to anyone. Do I really need a parent to say, "No, don't eat that?" At this age???????
One of the young ladies on the video today mentioned that she previously ate whatever she wanted whenever she wanted it. Well, I've always been critical of my eating, even if it was after I had consumed a bad food. There are so many times when I questioned my behavior. How could one eat and not think about it until after it was consumed. My answer was when the telephone rang I started talking, went into the kitchen and started snacking quietly while I listen. Yes, I would be completely aware of what was happening, but would continue and then feel disappointed. My solution was to take the telephone outside, walk around the property, and complete my exercise routine.
Yes, I use Sparkpeople as part of my theraphy to keep me on track. Maybe now I'll think of myself as a serious patient in therapy with plans to become freed of the excesses that are not needed to become a healthy individual. Who would have thought that one person would have daily access to so many therapists. Yes
Today, I received some wonderful words of encouragement from someone on SP and I'm so thankful. Today, we're moving forward!
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I don't know the year I posted this, but I did hire a life/weight coach five weeks ago and it has helped so much. I'm a work in progress.
425 days ago
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Being mindful of our eating takes time and practice. It's a life long process. We didn't get into overeating over night so it won't disappear over night. So be mindful but kind when you are talking to yourself.
2694 days ago
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Roaming and grazing are hard habits to break because you just aren't paying attention to what you're doing. Taking the phone out of the kitchen and walking around are great ideas! Perfection is such high and unattainable bar simply because we are human. You just have to do your very best everyday!
Stay positive because we are all rooting for your success.
2707 days ago
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Spark is a great resource tool.
Don't be too hard on yourself.
Doing your best for yourself is perfection!
Stick with it.
2709 days ago
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Having a great support system can be the best theraphy. We all have insecurities that we need to work through. Find inner strength and you can be successful. You deserve to be like the girls in the videos. You deserve to be happy. You deserve to be the best you can be. Do it for you, because you are the one that matters the most.
2709 days ago
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SP blogs are a good place to put your feelings and get a response.
2709 days ago
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text: Tanaka Kikinzoku Jewelry K.K. Japan on Sept. 20 unveils to the public a pony made with about 30 kilograms of pure gold to commemorate the birth of Prince Hisahito, who was born Sept. 6 to Princess Kiko and Prince Akishino, the second son of Emperor Akihito. The pony, whose market price is worth 150 million yen, will be sold if there is an order after being displayed at the company's main store in the Ginza shopping district in Tokyo, and outlets in Nagoya, Fukuoka and Osaka. (Kyodo).


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Sustainable Agriculture September 1995 Vol. 7 No. 3
Project Type: Research and Education
Funds awarded in 1993: $0.00
Projected End Date: 12/31/1995
Matching Non-Federal Funds: $19,345.00
ACE Funds: $25,376.00
Region: Western
State: Oregon
Principal Investigator:
Neil Christensen
Oregon State University
The Presidedress Soil Nitrate Test PSNT for Field Corn
Download file (PDF)
Target audiences:
Farmers/Ranchers; Educators; Researchers
Ordering info:
Cost: $0.00
This product is associated with the project "Calibration of the Pre-Sidedress Soil Nitrate Test to Improve Nitrogen Management on Dairy Farms"


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Affordable Mold & Die Repair is Possible!
When it came to mold & die repair, we've always had the tools to get the job done. We continue to offer 4 pulse arc models that vary in price and power. Today, however, we're adding a new Laser product perfect for mold & die repair work.
Introducing the Orion Open Laser Welder.
The Open Laser is on the end of an articulating arm that floats freely in your hands and over your workpiece. Click the link above for an overview or click here to see the Open Laser Welder in action.
Call and speak with one of our Micro Welding Consultants for questions or ordering information.
Just want to browse our products? Click on the links below for more information on Sunstone and Orion products.
Orion by Sunstone


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The first two images are overview maps of the northern and southern Minnesota survey areas to help you find your route. The rest are individual route maps to get a closer look a particular survey area. Below are links to print individual maps.
Download and print individual route maps:
(Map will open in a new tab – Print through your browser or right click and select print)