#tax calculator online

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[taxblgs]

Goods and Service Tax :What is GST in India? How Does GST Work?

Introduction to Goods and Service Tax (GST)

Goods and Service Tax (GST) is a unified tax system implemented in India to simplify and streamline the taxation process for goods and services. Launched on July 1, 2017, GST replaced multiple indirect taxes such as VAT, excise duty, and service tax, creating a single, nationwide tax. This system aimed to reduce tax burdens, encourage compliance, and promote a transparent economy.

What is Goods and Service Tax (GST)?

Goods and Service Tax, commonly referred to as GST, is a comprehensive, multi-stage, destination-based tax that is levied on every value addition across the supply chain. GST applies to goods and services alike, charging tax at each stage of production or distribution. Ultimately, the tax is borne by the end consumer, with businesses acting as intermediaries in the collection and remittance process.

How Does GST Work?

GST functions as a value-added tax, where tax is levied at each stage of production and supply but ultimately borne by the consumer. The tax collected from the buyer is partially credited to the seller, ensuring that only the value-added at each stage is taxed.

Types of Goods and Service Tax (GST)

To accommodate the federal structure of India, GST is divided into various types, each addressing different aspects of tax collection and allocation.

Central Goods and Service Tax (CGST)

CGST is the portion of GST collected by the Central Government for intra-state supplies of goods and services. Revenue collected from CGST is used for central welfare and development programs.

2. State Goods and Service Tax (SGST)

SGST is the counterpart to CGST, levied by individual state governments on intra-state transactions. The revenue from SGST goes directly to the state, supporting local infrastructure, health, and education programs.

3.Integrated Goods and Service Tax (IGST)

IGST applies to inter-state transactions and imports. This tax is collected by the Central Government but later distributed between the center and states to ensure equitable revenue sharing.

4.Union Territory Goods and Service Tax (UTGST)

For Union Territories that do not have their own legislature, UTGST is levied in place of SGST. It applies to intra-UT supplies, with revenue supporting the development of Union Territories.

Read also: How to track your GST Payment status? , GST return filing due dates

[girlivealwaysbean]

i don't feel like studying any of the subjects from The Plan rn but everything else is so boring that i also don't want to waste time on like watching content or something and i would rather switch subjects then give up on studying for the day and by old me standards ive already done enough but new me i still feel like i can do more but i don't know what ughhhhh this is torture

[niuzekun316]

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Streamlining Tax Compliance: Using Quaderno to Automate Taxes for Businesses Shipping into the EU.

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[mysimplytax]

Navigating Taxes Made Easy: Top Features to Look for in an Online Income Tax Calculator

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[purgatory-jar]

COMMISSIONS ARE OPEN ONCE AGAIN!

I am opening up 5 official commission sposts and 5 spots in the queue, and you can either send me a message here on tumblr or by email at elena.piergiacomi@icloud.com .

You can find other examples of my art here;

I can be commissioned to draw art for fanfics, covers, OCs, all ships/fandoms, small animations, comic strips, tarot cards, icon/headers combo and so on!

It’s not just deancas. Hit me up with good omens, ofmd, heartstopper, the witcher, 911, ted lasso, your baldur’s gate OCs, star wars, whatever you want! I am a huge nerd and 90% chance is I know the characters already :)

It would be amazing if you could signal boost even if you’re not interested, every bit of sharing helps.

Full pricelist and rules under the cut :)

PRICE LIST

SKETCH FLAT COLOR

base price 45 $ 

+ each additional character 24 $

complex bg 24 $

SKETCH FULL COLOR

base price 50 $ 

+ each additional character 24 $

complex background 24 $

INKED 

base price 55 $

each additional character 27 $

complex background 27 $

FLAT COLOR LINEART 

base price 77 $

each additional character 38 $

complex background 38 $

FULL COLOR 

base price 110 $ 

each additional character 44 $

complex background 44 $

RULES

Want a commission? Write to me at elena.piergiacomi@icloud.com and describe what you would like me to draw!

-PRICE: the price is calculated on the hours of work I put on it, and it already includes ALL taxes. (45 % of the amount goes up in taxes, my dudes). It is based on the amount of characters, details and background you ask for. The more complicated it is, the more time it takes, the more it costs. Please explain in your email what you would like and your budget and we will come up with a suitable price for both of us! Animations and comic strips need to be discussed as their price depends on the style chosen. Don’t worry if your budget is not much: just let me know and we can surely squeeze a drawing in there :)

-WHAT I NEED: photo references and information on what you want, the more the better. They don’t have to be super accurate! You can send ten photos and say: “I want this dress with this character with this other background etc.” You don’t know what you want? no problem! we can chat and discuss it!

-WHAT I WILL DRAW: I am comfortable drawing nsfw, most kinks, and animals of all kind, real and fantasy alike. I also draw every ship, so don’t be shy in asking! I won’t draw underage nsfw, non-con or dub-con, domestic violence etc. If you’re not sure, ask!

-WHAT FANDOMS? All of them. Just provide references and I’m good. Also, I’m a huge nerd, so there’s a 90% chance that I already know what you’re talking about. I draw OCs too!

-HOW TO PAY: via Bank transfer. After we agree on a price I will draw the sketch, and after the you have approved of the sketch I will send the invoice that you will need to pay. The invoice will contain all the info for the payment (it’s pretty easy to do online) and it’ll be in euros, and it will obviously be the amount we agreed on. I will then proceed with the rest of the drawing once I receive the payment.

-TIPS: If you wish to leave a tip, it’s greatly appreciated! However, the invoice has to match the exact amount of money I’ll be receiving, so if wanna tip you’ll have to tell me before I send the invoice! Again, a tip is not necessary nor will I be mad or offended if it’s not there. Sharing my art and signal boosting my commission masterpost or recommending me to others means a lot to me too and it’s a great way to help.

-HOW IT WILL WORK: I’ll send you the progress AT LEAST three times: the sketch, the lineart, and the base colors, so you can see them and ask me to change what you don’t like. Do not worry about offending me! The key to a good commission is communication! Also, I won’t be able to change stuff if you don’t tell me in time, so there’s that too ;)

-CAN I SHOW THE DRAWING TO THAT ACTOR? Sure, as long as it’s not nsfw! Please let me know if you do, I’m super curious to know what they said ;)

-DEADLINES: Please let me know if you have any deadlines you want respected. If you want it ready in less than 10 days there’s an extra 10$ fee. If you want it ready in less than 7 days there’s an extra 20$ fee. Also, if you ask for a deadline please try to reply to emails as promptly as you can manage.

-LIVESTREAMING: I might livestream the last phase of your commission (the coloring) on my Picarto.tv account, if the inspiration strikes and time is there. If you don´t want me to, please say so in advance, even tho I usually ask for permission before I do it.

[mahathiblogger]

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[dapg-otmebytheballs]

All or Nothing and lowave records

Strap in because this is gonna be a long one. This post will try to shed some light on how the whole lowave records thing works, how you can use this music, how it is being distributed, and what all a contract with lowave would include. All this and more below the cut!

Let us start with the basics: What is lowave records?

Quite succinctly summed up on their website as follows:

They make and distribute royalty-free music for content creators - specifically video-format content creators like Youtubers and streamers - they share some streaming revenue (30%, we'll get into that) with the creators who are labelled 'co-artists' and get promotion of their music through the content creators.

So, that brings us to the next big question: What is royalty-free music?

This is music that is free to use. Yes, by anyone, by Dan and Phil, by other creators, by you and me, any of us. This is by no means a new thing of course, anyone who has created content online would have come across other such services. just as an example, bensound.com hosts a large library of royalty-free music which you can use in any video by simply crediting the site in your description. Lowave works in a similar fashion. The music is not copyrighted. However, the rights to the music are held by lowave records and there are limitations on its use, which we will get into ahead.

How is the money working (preliminary edition)?

I will add details to this later when I discuss the contract, but let's see the info we get straight away from the FAQs: You do not have to pay them anything to make music for you

The money is coming in from the streaming platforms, depends completely on amount of streams, and is shared between lowave and the creators

Also from the FAQs: how can this music be used?

Anyone can freely use any of the music from lowave records, which means that yes, you can use any music from All or Nothing for your purposes with credit, it will not be taken down

Is this the only music we will hear on dapg now? Will there be more albums?

Not necessarily! This isn't an exclusive deal, DnP can use any music they want on the channel. As for new albums, seems like it depends on how this one does (and it seems to be doing quite well!) which will unlock future avenues for more collabs with lowave

Okay BASICS DONE if you're still reading you're probably here for the real meat so let us get into it

How is the money working (director's cut)?

Let us start with the terms on the partner agreement:

Content Creators get 30% of the 'remaining income'. This basically means any costs that streaming platforms are deducting, any processing fees, taxes etc will be deducted before the 30% share is calculated. The second point there basically means that the deductions here do not include business expenses of the label itself, ie when the label calculates its own profit production costs and various other expenses are deducted from the income, but these costs will not affect the revenue received by the content creators (You are probably already thinking 'how is this company earning enough to keep going?' and I will touch on that later as well)

Payment installments are simple enough but here we see a third party enter the chat: DistroKid. Who is DistroKid and why are payments going through them, Hazel? I hear you ask. Well I'll tell you dear readers:

It is basically a service that takes a yearly fee for putting your music on streaming platforms efficiently and then pockets 0% of the royalties. The royalties go from the streaming services (eg Spotify) to DistroKid who then send it to the rights-holders (in this case, lowave records). lowave records is using this service for a yearly fee to upload all their music through.

But wait! If DistroKid is working with lowave, and lowave owns all the rights, why is DistroKid making direct payments to the content creators?

Well, over the years they have offered a bunch of services:

I am guessing lowave is making use of the teams feature to send royalties owed to content creators ("collaborators") directly from Diskworld, which makes sense, the less people money goes through the less chances of mishandling.

People have of course been talking about what percentage Spotify even pays for many many years. The short answer: we don't know for sure because it is confidential, Spotify won't tell and artists aren't allowed to. The longer answer: people have estimated from a bunch of publically available data that the share seems to be 70-30 (rights-holders- spotify).

However spotify is not paying per stream anymore so that makes these figures harder to pin down. they are using a 'streamshare' system which is much more convoluted:

That was all about the money, now let's talk Licensing

Creators can use this music in any capacity, and do not have to share any of the revenue from their own content with lowave. They have put a stipulation that it may not be used in a way that is "illegal, immoral, discriminatory or derogatory to [lowave]" but what constitutes 'immoral' and 'discriminatory' is not really defined.

The other limitation applies to the contracted Content Creators only as far as I can tell: they are not allowed to remix, sample, or edit these songs without prior permission. This probably only applies to altering the songs and playing under the same name, so fan remixes should not run into issues here, as long as they are not monetised. (thanks kate @goldenpinof for making me think about this part a bit more, I think it should be safe, but even royalty free music cannot be transformed without permission at least in a commercial capacity)

They will also make more music free of cost if the streaming targets they set are being met by the albums produced. The process:

Other services they provide will be handling the creator's account which they set up (DanAndPhilBeats in this case) on streaming platforms and making changes as required, so the Cheeky Banter -> Project X thing was probably done from their end, possibly an older change that they forgot to update?

Also below are promotional obligations:

The promotion wasn't a one-time thing, it is expected to be ongoing, so we will probably be hearing about this in future videos as well. However, later in the partner agreement it is added that this has to be done as often as possible in a way that is "natural and appealing to their audience" which again, is pretty vague wording

Also the licensing goes both ways, so lowave can also use segments of the content DnP make that has the music in the background to promote their music:

Additional stuff from the contract:

lowave takes the guarantee of creating original works that it has the rights to and which do not infringe on copyrights, and the creators likewise take the guarantee not use the songs in content which infringes copyright. If there are any disputes regarding such infringement in the future the record and the creators have to back each other up (including sharing legal fees)

I mentioned before some parts of the agreement being written in vague language. There is also a clause that says if any provision ends up being illegal/not possible to enforce by a court (eg if a court were to it's impossible to say whether content featuring the songs was 'immoral') then only that provision will be removed, the rest of the contract stands.

The waiver part basically means that if any of the parties decide to not sue or forgo a complaint about breach of contract, that does not mean that those provisions are now unavailable, they can still sue later on or for some other breach if they wish.

That's the contracts done. Some of the framing there makes it seem to me like it's a pretty small company. The revenue they hope to generate does not seem to be very sustainable, especially since the revenue is being shared with content creators but the cost is not and they are additionally paying for other services like DistroKid.

So I looked more into this record label: they started business in 2022. If you go to their socials though, twitter and instagram they have followers in double digits and post very sparsely. Their tiktok seems to have nothing on it at all (thanks @lesbiandanhowell for the screenshot) and you may have noticed, Dan did not tag the lowave account at all when he announced the album on twitter

The agreement never mentions creators promoting lowave's social channels or tagging them either (and it is quite odd, I have worked with a bunch of organisations in their infancy and this is, now more than ever, a common requirement from collaborators). lowave records does not seem to be actively working towards promoting themselves on social media or building an online presence, even though they have been operational two years producing music throughout.

There are three people involved with the company on public record:

Benjamin Johnson listed as 'Head of Production' is probably the 'Ben' Dan has been talking about who made the songs. Seems like their scale of operations is not very big and possibly not a lot of producers in the records at all (despite the spotify page saying they have 'producers' plural, but that doesn't have to mean a lot many lol). Anyway, that would solve the mystery of 'how are they playing their employees?' if there aren't many employees to begin with (not even an intern to manage their social media it seems).

Look at the last person in the screenshots though: Robin. I looked at what other companies Robin is associated with and several of them - yeah several different operations that he's involved in - have the same correspondence address of '60 Thorpe Road...', so probably operating out of a ghost office (just to have a registered address and receive mail at etc). And one of these businesses that Robin is associated with is RWD, the business that made lowave records' website for them:

The no-cost production of royalty-free music, little attention to social media presence, vaguely written contract, seemingly small scale of operations with technical assistance like website design coming from an affiliated organisation makes me think that lowave records might be a side project. A labour of love, possibly, hoping to sustain itself enough to keep putting out royalty-free music in a time of extreme crackdown on copyrighted music use.

It makes sense to use content creators for promotion, gets you way more streaming than making your own music and putting it out. And the incentive of unique but guaranteed royalty free music at no cost is great for content creators of all sizes. It is far from sustainable on its own though, especially with streaming revenue being basically peanuts, and I do not think there's much interest in gaining a following or putting in that effort either, so it's probably a very small business by a few people. How long it manages to sustain itself as a project I am not sure, but it certainly isn't looking like something particularly geared towards profit and growth in its current state.

We are at an end! If you read this far, leave me like an A+ or a star for my essay so I can have academic validation from this please. Of course I probably have not covered everything possible in connection to this so if anyone has more info feel free to add on! And if this was all very long and there's something particular you wanted to know you can drop an ask into the inbox about it!

Thank you for coming with me on this journey! Back to the important things, which was your favourite song from the album? I think mine is Arcade Admission

[sticksandsharks]

Hello! I'm a huge fan of Sacred Bodies (despite never having read it!) and I was wondering how much you believe the physical copy may cost in the future? I'm trying to decide if I should wait for the physical release or if I should go ahead and get the PDF now. Also, I'm in the US, so I'm not sure where you're based and how much shipping would be. Thank you for your awesome art and storytelling!!

Hello! I'm in the proofing stage so I don't have a per unit cost figured out yet, but given general printing/paper costs for self-publishing and the price ranges of the other two books I have, I think SCRB will be around £13 - 14 online. I'm based in the UK, so shipping to the US is anywhere between £7 - 9.5 depending on the parcel weight; and because I don't have those final books yet, I don't know what the weight per unit will be to calculate that.

This is not accounting for any additional customs tax or fees that may be incured depending on local laws and regulations. I don't think the USA has any such fees for books, but don't take my word for it-- I am one guy sending out books from my office, so I don't really know much about any of that. 🧍‍♂️💦

[dreaminginthedeepsouth]

LETTERS FROM AN AMERICAN

June 2, 2024

HEATHER COX RICHARDSON

JUN 03, 2024

Today is the one-hundredth anniversary of the Indian Citizenship Act, which declared that “all non-citizen Indians born within the territorial limits of the United States be, and they are hereby, declared to be citizens of the United States: Provided, That the granting of such citizenship shall not in any manner impair or otherwise affect the right of any Indian to tribal or other property.”

That declaration had been a long time coming. The Constitution, ratified in 1789, excluded “Indians not taxed” from the population on which officials would calculate representation in the House of Representatives. In the 1857 Dred Scott v. Sandford decision, the Supreme Court reiterated that Indigenous tribes were independent nations. It called Indigenous peoples equivalent to “the subjects of any other foreign Government.” They could be naturalized, thereby becoming citizens of a state and of the United States. And at that point, they “would be entitled to all the rights and privileges which would belong to an emigrant from any other foreign people.”

The Fourteenth Amendment, ratified in 1868, established that “all persons born or naturalized in the United States, and subject to the jurisdiction thereof, are citizens of the United States and of the State wherein they reside.” But it continued to exclude “Indians not taxed” from the population used to calculate representation in the House of Representatives.

In 1880, John Elk, a member of the Winnebago tribe, tried to register to vote, saying he had been living off the reservation and had renounced the tribal affiliation under which he was born. In 1884, in Elk v. Wilkins, the Supreme Court affirmed that the Fourteenth Amendment to the Constitution did not cover Indigenous Americans who were living under the jurisdiction of a tribe when they were born. In 1887 the Dawes Act provided that any Indigenous American who accepted an individual land grant could become a citizen, but those who did not remained noncitizens. 

As Interior Secretary Deb Haaland pointed out today in an article in Native News Online, Elk v. Wilkins meant that when Olympians Louis Tewanima and Jim Thorpe represented the United States in the 1912 Olympic games in Stockholm, Sweden, they were not legally American citizens. A member of the Hopi Tribe, Tewanima won the silver medal for the 10,000 meter run. 

Thorpe was a member of the Sac and Fox Nation, and in 1912 he won two Olympic gold medals, in Classic pentathlon—sprint hurdles, long jump, high jump, shot put, and middle distance run—and in decathlon, which added five more track and field events to the Classic pentathlon. The Associated Press later voted Thorpe “The Greatest Athlete of the First Half of the Century” as he played both professional football and professional baseball, but it was his wins at the 1912 Olympics that made him a legend. Congratulating him on his win, Sweden’s King Gustav V allegedly said, “Sir, you are the greatest athlete in the world.”  

Still, it was World War I that forced lawmakers to confront the contradiction of noncitizen Indigenous Americans. According to the Gilder Lehrman Institute for American History, more than 11,000 American Indians served in World War I: nearly 5,000 enlisted and about 6,500 were drafted, making up a total of about 25% of Indigenous men despite the fact that most Indigenous men were not citizens. 

It was during World War I that members of the Choctaw and Cherokee Nations began to transmit messages for the American forces in a code based in their own languages, the inspiration for the Code Talkers of World War II. In 1919, in recognition of “the American Indian as a soldier of our army, fighting on foreign fields for liberty and justice,” as General John Pershing put it, Congress passed a law to grant citizenship to Indigenous American veterans of World War I. 

That citizenship law raised the question of citizenship for those Indigenous Americans who had neither assimilated nor served in the military. The non-Native community was divided on the question; so was the Native community. Some thought citizenship would protect their rights, while others worried that it would strip them of the rights they held under treaties negotiated with them as separate and sovereign nations and was a way to force them to assimilate. 

On June 2, 1924, Congress passed the measure, its supporters largely hoping that Indigenous citizenship would help to clean up the corruption in the Department of Indian Affairs. The new law applied to about 125,000 people out of an Indigenous population of about 300,000.

But in that era, citizenship did not confer civil rights. In 1941, shortly after Elizabeth Peratrovich and her husband, Roy, both members of the Tlingit Nation, moved from Klawok, Alaska, to the city of Juneau, they found a sign on a nearby inn saying, “No Natives Allowed.” This, they felt, contrasted dramatically with the American uniforms Indigenous Americans were wearing overseas, and they said as much in a letter to Alaska’s governor, Ernest H. Gruening. The sign was “an outrage,” they wrote. “The proprietor of Douglas Inn does not seem to realize that our Native boys are just as willing as the white boys to lay down their lives to protect the freedom that he enjoys." 

With the support of the governor, Elizabeth started a campaign to get an antidiscrimination bill through the legislature. It failed in 1943, but passed the House in 1945 as a packed gallery looked on. The measure had the votes to pass in the Senate, but one opponent demanded: "Who are these people, barely out of savagery, who want to associate with us whites with 5,000 years of recorded civilization behind us?"

Elizabeth Peratrovich had been quietly knitting in the gallery, but during the public comment period, she said she would like to be heard. She crossed the chamber to stand by the Senate president. “I would not have expected,” she said, “that I, who am barely out of savagery, would have to remind gentlemen with five thousand years of recorded civilization behind them of our Bill of Rights.” She detailed the ways in which discrimination daily hampered the lives of herself, her husband, and her children. She finished to wild applause, and the Senate passed the nation’s first antidiscrimination act by a vote of 11 to 5. 

Indigenous veterans came home from World War II to discover they still could not vote. In Arizona, Maricopa county recorder Roger G. Laveen refused to register returning veterans of the Fort McDowell Yavapai Nation, including Frank Harrison, to vote. He cited an earlier court decision saying Indigenous Americans were “persons under guardianship.” They sued, and the Arizona Supreme Court agreed that the phrase only applied to judicial guardianship.  

In New Mexico, Miguel Trujillo, a schoolteacher from Isleta Pueblo who had served as a Marine in World War II, sued the county registrar who refused to enroll him as a voter. In 1948, in Trujillo v. Garley, a state court agreed that the clause in the New Mexico constitution prohibiting “Indians not taxed” from voting violated the Fourteenth and Fifteenth amendments by placing a unique requirement on Indigenous Americans. It was not until 1957 that Utah removed its restrictions on Indigenous voting, the last of the states to do so.

The 1965 Voting Rights Act protected Native American voting rights along with the voting rights of all Americans, and they, like all Americans, are affected by the Supreme Court’s hollowing out of the law and the wave of voter suppression laws state legislators who have bought into Trump’s Big Lie have passed since 2021. Voter ID laws that require street addresses cut out many people who live on reservations, and lack of access to polling places cuts out others. 

Katie Friel and Emil Mella Pablo of the Brennan Center noted in 2022 that, for example, people who live on Nevada’s Duckwater reservation have to travel 140 miles each way to get to the closest elections office. “As the first and original peoples of this land, we have had only a century of recognized citizenship, and we continue to face systematic barriers when exercising the fundamental and hard-fought-for right to vote,” Democratic National Committee Native Caucus chair Clara Pratte said in a press release from the Democratic Party.

As part of the commemoration of the Indian Citizenship Act, the Democratic National Committee is distributing voter engagement and protection information in Apache, Ho-Chunk, Hopi, Navajo, Paiute, Shoshone, and Zuni.

LETTERS FROM AN AMERICAN

HEATHER COX RICHARDSON