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I translated at least 50 Native American poets - The Continental Literary Magazine
interview by Sándor Jászberényi
I translated at least 50 Native American poets
Hungarian poet and translator Gábor Gyukics talks about leaving Hungary in the 80s as a political refugee, his time living, writing and publishing in the US, and his years of translating Native American poetry.
Sándor Jászberényi: You left Hungary in 1986. Where did you go?
Gábor Gyukics.: Yes, I left Hungary in 1986, I purchased a fake passport from an acquaintance of mine who I usually met at jazz concerts but had just gotten out of prison, so I knocked on his door and he said: "Well, business never stops", so I said, "Good because I need a passport".
He took my 500 Forints (1.75 USD) and I flew to Amsterdam. They interrogated me at the airport for a few hours and then let me go because I had visas to Germany and France, and said I was hitchhiking back to Hungary after I visited Holland. A week later I went to the foreign police and applied for status as a political refugee, which I never received in Holland. But some good old Kisfa gang members took me under their wing and I lived with them. During that month, I figured out they were all junkies, shooting up heroin, cocaine, and all kinds of weird heavy stuff. I was smoking weed and hash but that was it. They introduced me to other guys who were dealing with literature and theatre, and who prompted me to start writing poetry. I stayed in Amsterdam for two years and I have to tell you, I had a great time.
S.J.: Why did you have to leave Amsterdam?
G.Gy.: I had to leave Amsterdam because during my last year in Amsterdam I was an illegal resident. After applying to Australia and Canada who refused me, I applied to the US and had to go to Brussels to talk to the US ambassador and he knew everything about me. I was completely surprised. He knew I had long hair, knew I happened to be in theatres and hung out with the Kisfa gang, and I got permission to move to the States. So, in 1988, on October 31 – Halloween night – I arrived at JFK Airport in New York. And then flew to Saint Louis, Missouri where I stayed for two years. Two good years actually.
I met a lot of good people there, including my translator, the late Michael Castro, who helped me with my English, my translation project, and my poetry. He had a radio show and aired my poems which I read in English, so by that time I was writing poetry in English and translating Hungarian poetry.
I translated Traveler and Moonlight by Antal Szerb into English.
I don't have the manuscript, but that improved my English a lot.
I lived in Saint Louis, and I played in theatres. I think my first role was the waiter in Betrayal by Harold Pinter. I then moved to Saint Francisco, where I lived for four years and finished Traveller and Moonlight. I had so many people editing that book, helping me with the language and that's where I met several beat poets. Caffe Trieste is where I met Lawrence Ferlinghetti and other great American poets. Jack Hirschman – that's where the whole jazz poetry thing started among the white poets when Jack Kerouac and David Amram did their first jazz poetry gigs. Of course, I met so many others whose names I don't remember, but in San Francisco, I was mainly acting. I made several films, they weren't hits, I think one made it to video and is available somewhere, but I don't remember.
After four years I moved to Brooklyn, New York, and met Ira Cohen who introduced me to Ginsberg. I hung out with the Ginsberg entourage and with Ginsberg as well, went to several of their readings and to the Nuyorican Poets Cafe a lot, where my first slam experience happened. I participated in the slam events there for years, but never won – I wasn't that good. The Black and Hispanic poets just blew my mind, what they were doing was, well, nothing in Hungary could do that ever.
Then I started publishing in magazines. I lived in New York for eight years, I had several jobs. During my 40 years in the States, I had several different positions. My last two were in parallel: librarian at both the New Jersey Historical Museum and at the Brooklyn Academy of Music. Many things happened, I made many good friends,
met Gregory Corso, saw William Burroughs reading in Saint Louis,
I have a good story about that. Nothing else comes to mind. I came back to Hungary and then returned to the US for six months. That was the time when I met my first Native American poet.
S.J.: Tell me the story: how was the reading with William Burroughs?
G.Gy.: OK! Washington University invited Burroughs for a reading because he was born in St. Louis, on Pershing Street – I lived just two houses down from the house he grew up in. The auditorium was packed with students and professors and me. He was talking and at one point he said, "I have to take a leak, gotta go to the loo!" so he left, and never came back! The organizers started searching for William Burroughs and found him in a different auditorium smoking a huge joint, and he said "I'm not fucking going back there anymore, I'm done!"
S.J.: How did you end up being the number one translator of Native American poetry?
G.Gy.: When I went back to St. Louis to visit my friend, Michael Castro, and some other great poets, I met an Osage Indian, a Native American, named Carter Revard, who is probably eighty-something now. He was the professor of English literature, I think he graduated from Oxford, summa cum laude or whatever you call it, and from Yale – two of the world's great universities. He had never met a Hungarian and I had never met a Native American. We started talking and I invited him to give a lecture, a poetry reading at Petőfi Literary Museum in Budapest. I think it was 2005 and there was a great crowd. He came back a few years later and did another good reading, his poetry wasn't the first that I translated but the last time he left Hungary he told me "Gábor, I'm not the only Native American poet" so I said, " don't get me wrong, I'm not trying to be sarcastic, please send the smoke signals to the other Native Americans that there's a crazy Hungarian who wants to read their poetry and translate them into Hungarian. If they don't mind being translated into a language which is only spoken by 15 million people." So I got a lot of poetry, at least 50-60 people and then there was no stopping it, I had to go on and I'm still translating for Native Americans. I visited the Flandreau Reservation as well, where Jim Northrup lived. I published his book, and I published a Native American poetry anthology five years ago as well. So two Native American books. And I translated one of my favorites, Lance Henson – he's an exile because he's a revolutionary, and they don't like it when he goes back to the States because there is always turmoil when he goes back. I think he used to work for the United Nations dealing with indigenous issues, so he went to Papua New Guinea and other places around there. He visited the Natives and tried to voice their struG.Gy.les to UN authorities. He is a great poet and writes very short poetry like my mine. He is kind of a minimalist but it's very strong stuff, and it turns out that he was a Dog Soldier, who are known to be fearless Native American warriors.
S.J.: How did you get in touch with the Dog Soldiers?
G.Gy.: The way I got in touch with the Dog Soldiers was to just call Lance and see what he says. I mean he tells me that this is a very old society of the Cheyenne tribe. When the first white people arrived, the Cheyenne gathered together and decided they have to fight these people, so they assembled many people and created a warrior society called the Dog Soldiers, and Lance, as well as his son, are members of this society. And one of the rules – and I think still is, but it might not apply for new members – was that
you had to kill someone in combat to become a Dog Soldier
– you can't just rob a house and kill the lady there and the nurse, you have to kill someone in combat to be accepted.
S.J.: As a translator of Native American Poetry, how do you see the situation of the Native Americans in these difficult times…
G.Gy.: Well, in general, I see that the Native American situation in America is very tough and possibly harder than the black people's situation there. Minorities are not treated well by either the Republicans or the Democrats or anyone else for that matter. Racism is on the rise, right-wing groups are on the rise. Armed right-wingers! And they hate people of color. Period. Native Americans are prime targets of these right-wing groups. More Native American women disappear every year than from any other minority group. They are raped and killed by white policemen, white sheriffs, white hunters, and farmers, who don't get punished. That's a scandal, and nobody does anything about it. The Native Americans raise their voices sometimes, but they get no answers or responses. So they have to deal with this. They can't figure it out, I don't know how they want to protect their children but it's very hard for them because so many tribes are living in poverty. Some groups got lucky because of the casinos and in other ways, but many, I think there is an Apache section, you go into their reservation, and it's like the ghetto. It's terrible – no running water.
S.J.: How many Native American poets did you translate?
G.Gy.: Native American poetry and art are very strong, and I translated at least 50 but probably more, Native American poets. I do it daily so I always pick up new people and because several young poets are emerging now, so probably 50 to 60.
S.J.: When you are visiting the States and visiting Native American poets, how do they treat you? How do they welcome you?
G.Gy.:
The Native Americans treat white people differently.
If you are an American white person, they don't like you. If you are European, there's a chance they will like you a bit more. But they give you a test. At first, you don't even realize it's a test. They start pushing you. They say nasty things. And if you get offended, they don't care for you anymore. If you take it and answer with humor they laugh and say "OK! He is a nice guy!"
S.J.: Tell me your acceptance. Did it happen to you?
G.Gy.: When I arrived in Duluth and Jim Northrup and his wife picked me up. They were really nasty to me the first ten minutes, I was sitting in the back of the car, saying to myself "fuck man". And then I started saying nasty things back, and they started laughing. I don't remember the exact words. The next morning, when I walked into the dining area, Jim's wife Pat, a Dakota tribal woman said, "I didn't make no breakfast for you but there's coffee". Jim was sitting there too and I said, "OK, what am I going to do, that's some nice hospitality." So I poured some coffee and went to the fridge, took out the buffalo meat, and made a good breakfast for myself. I saw from the corner of my eyes that they were smiling, like "OK, he feels at home!" So I became a member of the family. They were testing me. Twice in twenty-four hours. Which I think is what they do with white people. And I know that the Native Americans really welcome Europeans but only those who really care about them. So if you want to cheat them or hurt them, they realize that fast enough and kick you out.
S.J.: Do you get any discount in the casinos because you are the translator of Native American poetry?
G.Gy.: I did get some discounts but I didn't play. It was the Black Bear Casino in the Fond du Lac reservation; there's a huge casino and I saw only white people playing – no Native Americans. The Native Americans were working there in different positions, just like in the movies. Coffee, cigarettes, you can smoke in the Native American casinos. The one-armed bandits, play two or three machines at the same time. It was there that Jim told me he owns a Corvette. Native Americans, only the ladies, play bingo and Jim's wife won a Corvette playing bingo. She has never driven it, but Jim did, and once he took me for a ride to the casino. When we got out of the car, white people were going in with their sombreros, saying, "wow look at that Indian, he's walking around like he owns the casino." Jim turned and said "you bet," because he does! The whole tribe owns the casino, and the money helps the reservation. They have their own hospitals and schools, a nursing home for the elderly, their own Native American police force, and grocery stores. They don't have bars though – you have to go to the city for those. If houses get a little bit run down, the tribe votes for fifty thousand dollars of casino money to rebuild the house. So, the casino helps some Natives big time. But I'm not a gambler.
S.J.: Do the Native American poets want to be translated to different languages or reach out to the world? …
G.Gy.: Well, not really. If you go to them, some might say "No, I don't want to get translated. I'm fine with my English". They don't work for it, they don't say, "I want to be in Spanish". Most said yes to me, but two young men told me not to translate their poems. But I don't think that there are many Native American poems in other languages… maybe Norwegian, or other Scandinavian languages and Hungarian, that's all that I know of. Except for Spanish, but I don't speak Spanish, so I don't know that for a fact.
S.J.: What is this obsession of Europe with Native Americans? Why are we so interested in Native Americans?
G.Gy.: Well, I don't really know.
Some people say that the Hungarians one thousand years ago looked like and lived like the Native Americans.
Which, I don't know – I wasn't alive one thousand years ago. I think when Ervin Baktay and some other people visited Native Americans, they were accepted and taken in and these people came back and said nice things about them. Also, these James Fenimore Cooper books and Mark Twain books came out and so people – and I don't want to offend anyone – but probably inside they think we like this "wild lifestyle", and we want to be "wild" like these Indians. If you ask a Hungarian Indian, he would deny this but deep inside that's what it is, I think. I never wanted to be an Indian.
S.J.: Why do you find Native American poetry worth translating?
G.Gy.:Because they are much smarter than we are at certain things. They are luckier because when a Native American becomes an intellectual, goes to high school then university, they read everything outside of their territories: Japanese literature, Chinese, Arabic, European, everything, and incorporate that with their own traditions, their own life, their own thinking, then put that into poetry or art. That's much more interesting than anything else I've ever seen. That's why I like it more. Hey, I like Sufi poetry too but I think Native American poetry is much deeper.
#continentalliterarymag#emigration#gáborgyukics#hungarian#hungarianliterature#hungary#interview#literature#nativeamericanpoetry#poetry#translation
interview by
Sándor Jászberényi
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Words: the tools of the writer's trade. Words, warm, wicked, or winsome, pay the bills or leave us wondering where our work fell short in an editor's eyes. Classes on good writing tell us each word, in our fiction or nonfiction, is important. The wrong word choice can change the meaning of a sentence. The wrong sentence can change the direction of a story. The misplaced paragraph can be a decided fuhgettaboutit, sending our manuscript to the big recycle bin at the end of our road.
When your words are nothing short of inspired in your eyes, how do you know if that's actually the truth? You get a good critique group of honest but constructive readers, a writing partner who will keep you and your words rolling, a professional editor to help plug up the holes in a much too drafty first draft. And you go to classes taught by successful authors who are expert at using their words to paint masterpieces, such as Creating Vivid Worlds by instructor Laura Resau. This essential class is presented by Northern Colorado Writers in Fort Collins, Colorado on March 9th. For more information on this class and the fabulous annual conference next month, go to www.northerncoloradowriters.com.
Now, some blast-from-the-past word fun.
Combine one word from each of the three columns below, preface with Thou, and say it out loud with total Bard attitude.
Are you putting your best word forward?


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I didn't hear Schubert's Winterreise cycle until I was in college. A friend had introduced me to the work of Dietrich Fischer-Dieskau, the German baritone whose recordings of German lied were utterly transcendent, and his recordings of "Winterreise" remain a gold standard, at least for me. (If you haven't heard anything by Fischer-Dieskau, it's absolutely worth your time to check out his Schubert recordings with pianists Gerald Moore and Jorg Demus.) In his singing (and that of others, notably tenor Ian Bostridge), the pathos and utter despair of the work come to light.
The choice to depart from tradition is a deliberate one on the part of the musicians. According to the liner notes, "It seemed worthwhile to find a way of divorcing ourselves from the media/scholarly tradition and return to the music itself to see what it inspired in us." The group has chosen to create a Klezmer/Roma version of the work (and it's labeled thus on Analekta's website), and the change is absolutely enough to force the listener to hear it with new ears.
What does it sound like? When Martin and I were listening to this in the car on one of our trips northward, I said, "It's as if Ben Caplan decided to record 'Winterreise' – this would probably be the result." That's the closest analogue I can provide for readers here (who are far more likely to know Ben Caplan's terrific work – but if you don't, you should). If you've never before heard "Winterreise," this will be a great introduction for you… just be aware that if you explore other recordings, you're in for a shock.
I applaud the musicians' bold decision to revisit such a typically canonical work with such a fresh approach. I have to admit that my traditionalist ears needed several plays of the album to begin to appreciate it more deeply on its own, without comparing it to the interpretations with which I'm more familiar. One small criticism I would offer is that the relative lightness of the Klezmer/Roma approach strips away some of the pain and darkness that make "Winterreise" the compelling art that it is, but it's still an enjoyable album – and if new and bold recordings of familiar works bring more people into classical music, then so much the better.
Visit Le Chimera Project on Facebook.
Listen to this album on Spotify. To compare with a more traditional reading of the work, listen to this recording by Dietrich Fischer-Dieskau and Gerald Moore.


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Man ordered to pay $2.5 million restitution to…
Man ordered to pay $2.5 million restitution to four victims in marijuana fraud
By Kieran Nicholson | knicholson@denverpost.com | The Denver Post
PUBLISHED: November 16, 2020 at 3:14 p.m. | UPDATED: November 16, 2020 at 4:38 p.m.
A former Aspen businessman sentenced to 12 years in prison has been ordered to pay nearly $2.5 million in restitution to four victims swindled in a black-market marijuana scheme.
Scott Pack was sentenced to prison in July by Arapahoe County District Judge Michael Spear under the Colorado Organized Crime Control Act on a first-class drug felony conviction, as well as two counts of securities fraud.
Scott Pack
Last week, Spear ruled that four victims, who were defrauded by Pack, be paid restitution in the case.
The four had sought $2.8 million. Spear awarded amounts of $199,935; $299,935; $950,000; and $1,050,000.
"It is fitting that Pack's insatiable greed and disregard for Colorado's laws has now resulted in the law divesting him of much of his ill-gotten gains," said District Attorney George Brauchler, in a news release. "I am pleased the victims will be provided some of what was taken from them."
Pack was indicted in June 2017 and found guilty in February. As part of the case, investigators found an illegal marijuana operation at a site in Elizabeth with 845 marijuana plants weighing 2,535 pounds. The illegal marijuana, valued at more than $5 million, was distributed in Arapahoe, Douglas and Elbert counties, and other Front Range locations.
"No legal marijuana sales were reported or marijuana taxes paid," the news release said. The four duped victims thought they had invested in a legitimate business. Pack was described by prosecutors as being a "mastermind" of the criminal enterprise.
Lauren Boebert sued for blocking former Colorado state legislator on Twitter
Congressional candidate Lauren Boebert has a history of minor arrests, court no-shows
Lamar High School senior Tacy Schmidt signs to play softball at Lamar Community College
In rural Colorado, a growing push to preserve dark skies as artificial light spills out of cities
Lauren Boebert spokesman quits after less than two weeks
Colorado tells COVID-19 vaccine providers not to ask for IDs, will ensure non-citizens can be inoculated
Woman charged with attempted murder in stabbing of Denver police officer
Human remains found in two suitcases in Denver identified using DNA analysis
Calm at state Capitol as few Coloradans heed nationwide call for election protests at statehouses Sunday
CU Boulder won't fire conservative scholar who spread "repugnant" conspiracy theories at D.C. rally
Kieran Nicholson | Night Breaking News Reporter
Kieran Nicholson covers breaking news for The Denver Post. He started at the Post in 1986, at the old building on 15th and California streets. Nicholson has covered a variety of beats including suburbs, courts, crime and general assignment.
knicholson@denverpost.com
Follow Kieran Nicholson	@kierannicholson
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redpajama_set_name: RedPajamaCommonCrawl


Ireland is a leading location for the development, exploitation and management of intellectual property ("IP"). According to IDA Ireland, the number of global companies centralising their IP management in Ireland has made Ireland one of the largest exporters of IP in the world. One of the key drivers for this is the attractive tax regime, including the 12.5% corporation tax rate on trading income, a flexible 25% tax credit on the cost of eligible research and development activities, capital allowances on the cost of acquiring certain intangible assets and a large double tax treaty network to facilitate the flow of funds between Ireland and other countries. Ireland has signed double tax treaties with over 70 countries. The network of treaty partner countries is set out in the Appendix.
Ireland is home to eight of the top ten global technology companies, eight of the top ten global pharmaceutical companies and 15 of the top 25 medical devices firms in the world.
In recent years, Ireland has attracted a range of innovative social media companies, including Google, Facebook, Twitter and LinkedIn, all of whom have established their European headquarters here.
Ireland has two rates of corporation tax on income. The 12.5% rate applies to trading income of an Irish company. The 25% rate applies to non-trading, or passive income.
Generally, trading means the carrying on of business or the engaging in activities on a regular basis with a view to realising a profit.
The Irish Revenue Commissioners, in considering whether an activity constitutes the carrying on of a trade, look at whether there is commercial rationale for the type of situation proposed, whether there is real value added in Ireland and whether there are employees and/or directors in Ireland with sufficient levels of expertise and skill to actually carry on the trade.
In terms of a trade relating to IP, the Irish company should have employees and directors in Ireland who are genuinely involved in the operation of the business and all decisions of importance in terms of the management and control of the business (at a strategic level) are undertaken in Ireland. There should be a certain degree of activity around the promotion and management of the IP and staff with the appropriate skill and expertise would need to be located in Ireland to carry on this activity.
International companies generally adopt one of two alternative structures for holding and managing IP out of Ireland.
An Irish company can hold the IP and claim a deduction for capital expenditure incurred on the acquisition or development of the IP as well as any interest expense incurred to acquire the IP. The profits of the Irish company will typically be subject to the corporation tax rate of 12.5% if the company has the requisite level of substance to be considered trading. The tax depreciation and interest expense can reduce the effective rate of tax to a minimum of 2.5%.
A foreign affiliate company can hold the IP and licence the IP to an Irish company. In the case of certain US groups, this affiliate is often an Irish incorporated, but non-Irish tax resident, company (perhaps resident in the Cayman Islands). The Irish company can take a deduction for royalty fees paid. There is also a wide range of exemptions from withholding tax on royalties paid to foreign companies as outlined below. The profits of the Irish company will be subject to the corporation tax rate of 12.5% so long as there is sufficient activity and substance in Ireland.
Companies carrying on a trade in Ireland can claim a tax deduction on capital expenditure incurred on the acquisition or development of certain "specified intangible assets" for the purposes of their trade. Intangible assets include patents, registered designs, trademarks, certain know-how, domain names and goodwill directly attributable to those intangible assets.
The allowances will typically follow the accounting write-down but the company can elect for a fixed write-down period of 15 years (7% per annum and 2% in year 15). The allowances can be offset against income generated from managing, developing or exploiting the intangible assets or income from selling goods or services that derived their value from the intangible assets.
Allowances can be claimed where the intangible asset is acquired from another party (including an affiliate, where (arm's length pricing rules apply). In the context of transfers of intangible assets between Irish group companies, allowances can be claimed where an election is made to opt out of certain capital gains tax group relief provisions.
The aggregate amount of any allowance and related interest expense (i.e. interest incurred to acquire the intangible asset) in an accounting period was previously capped at 80% of the related annual income. This restriction was removed by the Finance Act 2014 for accounting periods commencing on or after 1 January 2015 but has now been reinserted for accounting periods commencing on or after 1 January 2018 but only in respect of intangible assets purchased on or after 11 October 2017.
Where the intangible asset is held for more than 5 years there is no clawback of the allowances on a disposal (unless the asset is sold to a connected company who wishes to claim allowances). This is an important measure as traditionally the risk of a future "recapture" of capital allowances can be problematic for companies with a high spend on capital.
There is an exemption from Irish stamp duty on the transfer of specified intangible assets.
R&D tax credits allow qualifying companies involved in the carrying on of R&D activities to benefit from a tax credit of 25% of R&D expenditure. The tax credit is in addition to the corporation tax deduction at 12.5% for qualifying expenditure.
The tax credit is used to reduce the company's corporation tax liability and any unused portion can be carried forward indefinitely. In certain circumstances the tax credits can be converted into cash payments from the Revenue Commissioners (this is useful for start-up or early stage companies that are in a loss making position). The amount of money that can be claimed back is limited to the greater of (i) the corporation tax paid by the company for the preceding ten accounting periods and (ii) the payroll liabilities for the period in which the expenditure on R&D activities was incurred. For a start-up company the limit will be the payroll taxes for the period in which the expenditure was incurred.
Tax credits are available to companies within the charge to Irish tax that undertake R&D activities within the European Economic Area. The relief is generally available for R&D activities carried out in areas such as software development, engineering, medical sciences, pharmaceuticals, agriculture and horticulture.
Payments of patent royalties by an Irish resident company are typically subject to withholding tax at 20%. Patent royalties paid to associated companies resident in another EU Member State, or paid in the course of a trade or business to a company resident in a country with which Ireland has a double tax treaty are generally exempt from withholding tax. The Revenue Commissioners issued a Statement of Practice in 2010 which effectively extends the relief from withholding tax on certain patent royalties paid to non-treaty countries. To avail of the exemption, certain conditions apply which include the fact that the royalty must be paid in respect of a foreign patent and the payment must be made in the course of the Irish paying company's trade. Prior approval of Irish Revenue will be required.
The Irish Finance Act 2015 introduced a 'knowledge development box' ("KDB"), which brought in an effective reduced rate of corporation tax of 6.25% for qualifying income derived from 'qualifying expenditure' in the EU by an Irish tax resident company. This relief applies to accounting periods which commence on or after 1 January 2018 and before 1 January 2021. A claim must be made within 12 months of the end of the relevant accounting period and should be made in the corporation tax return of the claimant company for the period.
The KDB was described when introduced as the first OECD-compliant KDB in the world, which means that it is in line with international guidelines, the OECD Action 5 Report published on 5 October 2015 and specifically the OECD's 'Modified Nexus Approach'. Under the Modified Nexus Approach, only the expenditure incurred developing the intellectual property asset after it was acquired should qualify as qualifying expenditure.
Qualifying assets for the KDB include certain patented inventions and copyrighted software will be 'intellectual property' for the purposes of the definition of 'qualifying asset'. The definition also includes supplementary protection certificates for medicinal products, supplementary protection certificates for plant protection products and plant breeders' rights. The intellectual property must be the result of R&D activities.
Qualifying income for the KDB constitutes income derived directly from the qualifying asset. The qualifying profit will be determined by reference to a formula, set out below. A deduction of 50% of the qualifying profit from the specified trade will be allowable, resulting in an effective KDB tax rate of 6.25%. The greater amount of R&D that takes place by the Irish entity, the greater the proportion of income that may qualify for the KDB tax rate.
Qualifying expenditure on the qualifying assets, for the purposes of the KDB, means bona fide expenditure incurred by a company wholly and exclusively in the carrying on by it of R&D activities, where such activities lead to the development, improvement or creation of the "qualifying asset". Where expenditure on qualifying assets, carried out by a group company, will not be qualifying expenditure for these purposes, it may be deemed as uplift and qualify as 'uplift expenditure', up to 30% of the qualifying expenditure.
The Maples Group is a leading service provider offering clients a comprehensive range of legal services on the laws of the British Virgin Islands, the Cayman Islands, Ireland, Jersey and Luxembourg, and is an independent provider of fiduciary, fund services, regulatory and compliance, and entity formation and management services. The Maples Group distinguishes itself with a client-focused approach, providing solutions tailored to their specific needs. Its global network of lawyers and industry professionals are strategically located in the Americas, Europe, Asia and the Middle East to ensure that clients gain immediate access to expert advice and bespoke support, within convenient time zones. The Maples Group comprises over 1900 people worldwide, 400 of whom are based in our Dublin offices.
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Home Uncategorized Xbox One X pre-order details set for release this Sunday
Xbox One X pre-order details set for release this Sunday
An image of the Xbox One X console by Microsoft (Xbox.com)
As gamers await the pre-order details for the Xbox One X, Microsoft confirmed that it will be this weekend.
According to Gamespot, the company announced that they will unveil the details on Sunday, August 20, during the Gamescom event. The date will also reportedly mark the start of the console's pre-orders.
The confirmation came on the heels of fan speculation that Microsoft will announce details on Thursday. When asked by a fan on Twitter regarding the release date of the details last Wednesday, Microsoft responded, saying "We'll share more info on this tomorrow."
Late last month, Xbox boss Phil Spencer said that details on the pre-orders were just around the corner. "Our plan is set for this. All approvals are done so now just landing the announce with all the info, won't be too much longer," Spencer said.
Players who are on the fence if they should upgrade to the new console do not have to worry about their old games and accessories. Microsoft confirmed that Xbox One accessories will be compatible with the Xbox One X.
Meanwhile, Microsoft also partnered with Taco Bell to promote the upcoming console. Customers who purchase the new Steak Quesarito $5 box will get "a unique code" starting Aug. 31. The promo code gives them a chance to win an Xbox One X. "Boxes will be available during the promotion from August 31 to October 4 at participating Taco Bell locations while supplies last," read the announcement.
In addition, "a potential winner will be notified on an average of every 10 minutes." Apart from the console, winners will also get a copy of "Forza Motorsport 7" plus three months' worth of Xbox Game Pass subscription.
Tagged as "the most powerful console ever," the Xbox One X features remarkable specs. Having those result in an "immersive true 4K" type of gaming experience. It comes with a six Teraflop GPU that clocks at 1.172 GHz, and 12GB of GDDR5 memory. It also boasts of a 326GB of memory bandwidth.
The Xbox One X officially launches on Nov. 7, with a price tag of $499.
Xbox One X pre-order
Xbox One X pre-order details
Xbox One X release date
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Explore the out-islands and keys off of St. John's.
Snorkel world-class reefs in and around the USVI National Park.
Cool down with drinks from Kekoa's open bar and enjoy a deli-style lunch complete with green salad, potato salad and cookies.
Explore the out-islands off of St. John's north side as we glide through narrow passageways and steep cliff sides.
Snorkel the Virgin Islands world-class reefs.
Kekoa provides snorkel instruction & quality gear for two snorkel stops.
Join us for an one and half hour journey to unwind aboard Kekoa.


Experience Bolivia's best food, wine and spirits on a 3.5-hour, small-group gourmet tour of La Paz that explores the city's traditional foods and cutting-edge cuisine. Follow your local guide through a vibrant food market, sample freshly-prepared treats, and learn the most important ingredients of the region's distinctive cooking. Taste your way through a series of Bolivian classics at a nearby restaurant, mix a personalized cocktail with local ingredients, then finish your tour with cheese and a tasting of lesser-known South American wines.
Feast your senses on the flavoursome and fulfilling food of Bolivia on a 3-hour food tour of La Paz. Alongside your gastronome guide, you'll visit an eclectic selection of local restaurants and street food stalls to sample the most traditional of Bolivian cuisine. On this small group tour, limited to 10 people, you'll learn about the culinary culture of La Paz and receive personalized attention from your guide. Customize your tour according to the foo you and your group wish to eat.
Discover classic Bolivian flavors on a food tour of La Paz that explores local restaurants and vibrant markets. You'll get a great overview of the country's diverse foods with included tastings that go from the potatoes of the altiplano to Lake Titicaca trout, all while exploring La Paz' downtown and hills.
Enjoy beautiful local folkloric dances and a delicious local dinner with a local drink on the house! Fun and filled with information. Learn about local customs and local traditions. 4 dances accompanied by a local dish, you will learn about the dances and about the dish you will be served.
Since I'm living here, i want to show people my favourite places, Cafés and restaurants. I'm just offering tours in small groups to have the best chance of using public transportation and giving you a more unique experience.
The Cool day adventure starts with traditional street food tasting, takes you through the real side of the traditional market. You enjoy a great view from the terrace of San Francisco Catedral and you have Gourmet lunch included!


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Lagos imposes 24-hour curfew as Nigeria anti-police protests worsen
adminOctober 21, 20202 Mins read13 Views
Issued on: 20/10/2020 – 14:20
Authorities on Tuesday imposed a 24-hour curfew in Nigeria's economic hub Lagos as the police ordered out anti-riot units nationwide to face protests officials claimed had been hijacked by criminals.
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As the lockdown went into force in Africa's largest city at 4 pm (1500 GMT), hundreds of defiant protesters sang the national anthem as they pledged to remain out on the streets.
"Are you afraid?" a man shouted to the flag-waving crowd from a stage at a tollgate in the city centre that has become the epicentre of the demonstrations.
"We will stay here peacefully," 32-year-old demonstrator Akin told AFP. "This is our new home."
Protests that began 12 days ago over abuses by the police's loathed Special Anti-Robbery Squad (SARS) have spiralled dramatically with violence being reported in several cities.
Lagos state governor Babajide Sanwo-Olu ordered the shutdown after he said the protests had "degenerated into a monster that is threatening the well-being of our society".
"Lives and limbs have been lost as criminals and miscreants are now hiding under the umbrella of these protests to unleash mayhem," he wrote on Twitter, insisting that only essential workers should stay out on the streets.
"We will not watch and allow anarchy in our dear state."
I, therefore, hereby impose a 24-hour curfew on all parts of the State as from 4pm today, 20th October,2020. Nobody, except essential service providers and first responders must be found on the streets.
— Babajide Sanwo-Olu (@jidesanwoolu) October 20, 2020
As the tone hardened from the authorities, Nigeria's police chief ordered anti-riot units deployed around the country.
"The force will henceforth exercise the full powers of the law to prevent any further attempt on lives and property of citizens," a statement said.
Some 18 people have died in the demonstrations as clashes have been reported between protesters and assailants wearing civilian clothes.
Rights groups and protesters have accused "thugs and sponsored hoodlums" of attacking the peaceful demonstrations and seeking to discredit the movement.
Lagos, a city of 20 million, has been paralysed as crowds have blocked key roads and access to the international airport.
An AFP journalist saw young men manning makeshift checkpoints and stopping cars on routes across the city early Tuesday.
Witnesses told AFP that a police station was set ablaze in the Orile Iganmu district of the city on Tuesday. They said police opened fire on protesters, wounding several.
In the capital Abuja, security forces violently dispersed crowds and thick black smoke could be seen over the city, an AFP photographer said.
Tensions were high after police reported that three people had been killed in clashes in the city on Monday.
Violence spread as well to the largest northern city of Kano as hundreds of people went on a rampage on Tuesday, burning vehicles and looting businesses according to an AFP reporter at the scene.
"The mob came near the school and began assaulting parents who had come to pick up their children," 35-year-old auto mechanic Sadiq MohammedRead More – Source
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About Reviews at Home
Introduction –
You may notice that I am giving reviews which seem to be harsher on adult oriented productions more than children oriented productions, or productions with higher budgets than with lower. The reason for this is simple: I gauge the review based on the attempt of the production, and the era.
It has become all to common of an occurrence with critics to create a false perspective of the production they are viewing so they appear "mature" or "in the know". This leads to industry skewed reviews for the purpose of ego inflation and acceptance. I care nothing for that. All I care for is that a production receives an appropriate score based on achievement of its goals. As a final step, I believe the sum of a production is greater than any singular aspect combined. Therefore, I will almost always round up to the nearest half point. There are only a few rare instances where I will round down, such as when the remainder is just a smidge above the half-point mark (such as Pacific Liner, which was 4 hundredths off an average of 3 1/2 stars). While I will eagerly place quarter points in individual scores, I want to keep the final average on a half-point gauge.
Yes, that means that a simple children's short could very possibly receive 4 stars, while an Academy Award winning feature only receives 3 or 3 1/2.
The worst thing that has developed in this industry, is a manipulation of eye candy and budgets for the sole purpose of making a production appear to be better than it really is. This has distilled content down to broad brushed strokes designed to manipulate the audience like a freshly painted day long carnival, rather than to give the audience a feeling of exploration like a themepark or comicbook convention. Carnivals are fun (like a monster movie), but not everything should be a carnival.
You may also see I absolutely flunk an aspect (or entirety) of production; that's in an instance where the production completely failed with their budget and attempt, or otherwise made a false claim that wound up injuring the reputation of someone undeserving of the slander. Typically, anything below 2 stars, especially a flunked rating, will receive an asterisk to insure there is no mistake as to why the rating was received.
You will also see that most productions are above 2 stars. 2 Stars really means those in charge of that area of production couldn't be bothered to do more than a half-hearted attempt. It's rare that someone who does a half-hearted attempt will remain in the industry for long, let alone an entire production. I have seen terrible productions, and condemnation of a production must be reserved for those failures that are truly awful (and possibly epic) in scope. I will not give a production that is despised by "those in the industry" a terrible grade simply because members or topic of the production is despised by "those in the industry".
A production, or aspect of a production, must truly fail in some regard to receive below a 2 star rating. There are plenty of critics out there who enjoy yelling at the screen for a quick emotional burst that makes their audience laugh, but in the end they become disingenuous toward the production and their audience by doing it too often. Once a viewer sees a truly terrible production, such as "Manos: the Hands of Fate", they come to to understand the difference between watching a terrible movie without any redeeming value (a 0 to 1 star production, which has nearly no effort behind its creation), and watching a decent production they happen to dislike (such as a 2-3 star production which has effort behind its creation).
This is why I go to the effort of writing out a review of what I see and understand regarding the effort put into the production itself. Stars don't say everything. Stars don't tell you what kind of production, what the production was attempting, or what you should expect. Stars give you a small insight into the quality of the effort from those involved. Snarky tones, one liners and percentage scores, really are the bane of the existence for understanding the topic that is put under any kind of review, therefore, I also try to stay away from that quip style commentary. I'm sure you can find a few sentences or a line that I write which may encapsulate some aspect of a production, but it will be a rarity when a single sentence I write can give the full breadth of a regular review. I typically find such quick overviews to be a betrayal of the effort of any production being reviewed. 5-10 minutes to read through a review isn't too much to ask, as even the Director of Manos deserves that much time before you make up your mind.
Onto my system –
I divide a production into 6 aspects. I gauge the aspects in quality by quarters from 1 – 4 stars. I then add up the scores and average them out (divide by 6). That number is then typically rounded up to the nearest half-star point, except in a few cases where it's so very close to a rounded down half-star point.
Most movies are 2+ stars. 2 stars is the MINIMUM requirement in professionalism for a movie to be in the theaters. Anything below 2 stars contains massive errors or faults, and serious consideration should be taken in whether or not you want to see the film. Anything above 2 stars is a typical recommendation.
Still, use your judgment, don't rely upon ratings alone!
Production –
The production aspect of the film includes all manner of preparation and finalizing (such as organization, marketing, set design, special effects planning, costume design, etc…). Yes, I realize award shows like to give each individual personal awards for each aspect of production. Well, these reviews aren't award shows for individuals, they are reviews. As such, these facets of production all occur within a clear and decided stage of preparation for any production. In general, this is the very technical side of production preparation.
Direction –
This may include one or more directors. One of the difficulties in the film industry is finding the names of all of the directors on any one production, especially older movies, as small directors can come in to provide some assistance with a single shot before leaving. As such, I only list the names of those directors in the official credits, while mentioning specific aspects in the review that may help or hinder this score.
Script –
There are usually multiple script writers on set, but only 2-5 main writers. On set script writers tend to be those who make minor changes throughout production to reflect the proper shooting script, or transcription. Still, more often than not, only 2-3 people receive credit for the entirety of the script. As with directors, I use the official credits list while citing any special area that I believe helped or hindered the score.
Acting –
I give a score to acting based on the overall talent displayed in the production. You can have a 1 star script and huge actors giving a 3 star performance. Even with terrible direction, a truly great actor can push through to give some sense that they are trying to accomplish something with the material and command given to them. This score alone, however, should not be seen as a source of condemnation or praise for any singular actor (unless it's a one man show), because all of a project actors affect this overall score. I may not list all of the actors in the credits (some movies have pages of names, or even people who are not credited), but I try to give as many names as possible.
Editing –
This truly is about story continuity editing and visual editing for a production. This is not sound or musical editing. I do not list editors in the credits, this is because not all productions had them listed.
Sound –
Because of what happened between 2004 and 2008 in the sound industry, I've decided to separate all aspects of sound into its own category. This includes musical editing and composition and sound editing and composition. What happened between 2004 and 2008? Ah, well, I'm not entirely sure. I know some basics – companies like Dolby and Sony digital sounds went through a revolution of sorts around that time to improve quality to represent life like experiences. What this usually means is that you wind up with whispers as low as an actual whisper (20-30 decibels), along with explosions as high as an actual explosion (peaking at or above 120-130 decibels). This is not just an idle claim. I've actually measured decibel levels in theaters, and despite limitations put forth by legislation, I've experienced and recorded levels in the same movie which have that exact spread. I have heard and seen blown out speakers in theaters because of this sound revolution that took place. It's more than just a theater being specially tweaked, it's the actual decibel spread of some of these special movies produced with this revolutionary sound technology.
The fact is, all aspects of sound have a collaborative effect, whether it's music, someone speaking, dubbing or even a car crash. They all affect the experience as an audience member in a combined fashion.
Conclusion –
I hope that this note helps you to understand the method of review. In the end, a review is the sum of all its parts. For you to decide if you like a production, you must use more than just stars or decimal points, you must understand the production and its attempt. Just because a movie may have good acting, a great script and stellar effort, doesn't mean you'll necessarily like the movie itself. Ben-Hur, for example, is a largely well done production, and while I recognize its worth and will gladly recommend it to anyone who likes that type of movie, I personally hate it. When I review it, I always gauge it as a solid, 3+ star, recommendation to anyone and everyone who like to watch ancient historical fiction set within a biblical epic period; but when it's on t.v., I can't stand to sit through more than 20 minutes. That's because I can recognize the value of a production's effort and accomplishments without having to like it. That's something that people need to understand. Stars are just shiny object, don't be blinded by them. Read the review in its entirety. Understand the substance before making your decision. You may still dislike something while recognizing that it has a 3-4 star effort, and that's ok. Heck, you may love a 2 star movie despite its production, and that's ok, too! The objective of a review is to give someone insight enough to determine if the subject being reviewed is something they may like when compared with past experiences.
I hope you enjoy my site and the reviews, and if you have a desire to offer some counter reviews or debate, feel free to discuss! I'm notified whenever anyone makes a post. Be warned, I love a good debate! So, if you want to debate a point, I'll take you up on it! Just make sure that any debate or discussion is kept at an enjoyable level. A production is rarely something over which anyone should lose sleep, or become mortally offended.
We're all here for one combined thing: to find experiences worthy of a good time with friends/family, while sharing and discussing the occasional idea.
Without Wax,
Kevin Conner
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