text:
THE BASEBALL RELIQUARY PRESENTS
LEGACIES: BASEBALL FROM
FLATBUSH TO THE CITY OF ANGELS
at the John Anson Ford Amphitheatre
Hollywood, California
In 1958, Walter O'Malley moved the beloved Dodgers baseball team from Brooklyn to Los Angeles in what proved to be perhaps the most controversial franchise shift in professional sports history. The westward move of the Dodgers was a watershed for major league baseball, heralding an unprecedented growth in the business aspects of the national pastime, but also triggering deep emotional reaction on both coasts. To the borough of Brooklyn, the Dodgers had come to symbolize the hopes and aspirations of its citizens, and the team's departure was nothing less than a tragedy, a destruction of a culture, which left a lasting residue of resentment still felt today. And in Los Angeles, a relatively young and still evolving city, a contentious and ideological battle erupted over Chavez Ravine, the Mexican-American neighborhood designated as the site for the new Dodger Stadium.
Legacies: Baseball from Flatbush to the City of Angels incorporated, in the course of one evening, a variety of artistic interpretations of the move of the Dodgers and the relationship of baseball to community and to American social and cultural history. Another of the Dodger "legacies" spotlighted in this program was the franchise's role as a pioneer of diversity in major league baseball, perhaps best represented by the signing of Jackie Robinson, who broke baseball's "color line" in 1947 at Brooklyn's Ebbets Field. Later, the phenomenons of "Fernandomania" (Fernando Valenzuela) and "Nomomania" (Hideo Nomo) would help ensure the broad appeal of the Dodgers within the diverse communities of Los Angeles.
Nancy Bea Hefley
The pre-show festivities included a performance by Nancy Bea Hefley, the popular Los Angeles Dodgers organist since 1988. A native of Bellflower, California, Hefley began playing the piano at age four, and over the years has amassed a repertoire consisting of more than two thousand songs. As the audience entered the theater and took their seats, Hefley entertained them with a selection of traditional baseball songs, Broadway hits, and tunes associated with New York and Los Angeles.
Just minutes before the show began, Roger "The Peanut Man" Owens made a surprise guest appearance, trick-tossing bags of salted peanuts to an enthusiastic audience in the same manner that has made him a vending legend for over 45 years at the Los Angeles Memorial Coliseum and Dodger Stadium.
Elayne Boosler
Brooklyn-born comedian Elayne Boosler, now a resident of Los Angeles, served as the evening's master of ceremonies, and her opening monologue featured an hilarious routine based on the corporate sponsorships that are beginning to take over the game and its stadiums. According to Boosler, major league baseball attempts to sneak in commercials at every opportunity as if they belong, when they really don't. Her solution is to stop fooling and insulting the viewers; since they've got to pay the salaries, sell everything, put it in our faces, and call the game. In a rapid-fire delivery, Boosler then proceeds to announce a few minutes of a game where every call and every player is tied to corporate sponsorship. [Examples: ". . . his walk up to the plate is being brought to you by Home Style Buffet, where you can walk up to the plate as many times as you like . . .;" ". . . today first base is being brought to you by Aflac, because everybody needs an annoying duck as an insurance agent . . ."]
Singer-songwriter Byron Motley and his band (Patrick Gandy on piano, Roberto Vally on bass, and Randy Drake on drums) began their set with Woodrow Johnson's spirited 1949 musical tribute, "Did You See Jackie Robinson Hit That Ball?" Motley, who inherited his love of baseball from his father, who was an umpire in the Negro Leagues, interjected, "But even with all the glory, it was not a bed of roses for Jackie. He had to endure all the threats and taunts of the first few years. But he held his ground and persevered and succeeded because he knew he had to. No matter what your profession or interest, or whether or not you even like baseball, the contributions he made affect us all."
Byron Motley and Band Byron Motley
Motley then sang the Cy Coleman/Carolyn Leigh tune, "The Best is Yet to Come," adding between the lyrics that the Dodgers were at the forefront in signing a bevy of black ballplayers, not only Robinson, but also Don Newcombe, Dan Bankhead, and Roy Campanella. These players paved the way for future generations of black baseball stars such as Willie Mays and Barry Bonds. "America's game was colorized," proclaimed Motley.
As a tribute to Paul Robeson, Motley performed one of the entertainer and civil rights activist's signature songs, "Ol' Man River." Stating that Robeson was "an idol of his race and the promise of his people," Motley noted that he also left a mark on the integration of baseball: "As early as 1938, Robeson, in conjunction with the black press and the American Communist Party, were at the forefront in telling the baseball world that it was unfair that black players were not allowed to play in the major leagues."
Motley concluded his musical presentation with a medley of songs popularized by Nat King Cole (including "Straighten Up and Fly Right," "Nature Boy," "Orange Colored Sky," and others), who, like Jackie Robinson in baseball, overcame tremendous odds to become one of America's great cultural treasures.
Bobby Kelton
Next up was comedian Bobby Kelton, a baseball fan known for his many appearances on The Tonight Show. Wearing a 1955 Brooklyn Dodgers replica jersey, Kelton recalled his fond memories of going to Ebbets Field in Brooklyn as a young boy, and talked about the differences between fans in New York and Los Angeles: "I was at a Mets-Dodgers game in Los Angeles this year. The Dodgers had won the first three games of the series, so if they won the fourth game they would get a sweep. And there were about a dozen guys walking into the stadium with brooms in their hands. I was wondering what kind of person would go to the trouble of bringing a broom from his house just to have the visual metaphor of a sweep. Then I saw a Met fan walking into the stadium with a vacuum cleaner. And I said why do you have that, and he said because the Mets suck."
Kelton also alluded to the different characteristics of vendors at ballparks in Brooklyn and Los Angeles, adding that vendors "actually have to go to a school to learn the trade — how to throw peanuts and hot dogs. There's even a school for vendors. One night there was a commercial on TV about two in the morning. I turn on the TV and saw a guy say something like this: [starts in a thick Brooklyn accent] 'Hey, Hot Dog here! Hi, that's not my real voice. That's just the voice I use in the high paying world of hot dog distribution. You too may be qualified to be a vendor. Are you goofy and have nothing to do? Do you have the mind of a Chiclet? At the American Academy of Vendors, we offer a number of courses, such as the art of shortchanging children and immigrants, how to keep beer at 195 degrees, and how to block everybody's view during a home run in the bottom of the ninth. So pick up the phone and dial 555-HOT-DOGS.'"
Ross Altman
Political activist and folksinger Ross Altman then came on stage to sing and play on the guitar two original compositions dedicated to Dodger greats Sandy Koufax and Jackie Robinson. Writing in traditions ranging from Woody Guthrie to Tom Paxton, Altman has composed songs on virtually all political topics over the last 20 years and has shared the stage with such legends as Arlo Guthrie, Pete Seeger, Sam Hinton, and Johnny Walker. His "Sandy K" was written in response to the rumor printed in one of former Dodger owner Rupert Murdoch's newspapers that Sandy Koufax was a homosexual. Altman opined that Koufax had "stood up to somebody just as intimidating as Willie Mays when he demanded and got an apology from Rupert Murdoch." He introduced his song in celebration of Jackie Robinson by noting that it was written in 2003 for a book signing featuring Lester Rodney, the founding sports editor and columnist for the Daily Worker, the American Communist Party newspaper, who played a pivotal role in the campaign to integrate baseball that culminated with Branch Rickey's signing of Robinson.
The first half of "Legacies" concluded with several excerpts from Heather Woodbury's remarkable solo performance, Tale of 2Cities: An American Joyride on Multiple Tracks. A self-described "fictional anthropologist" and "stand-up novelist," Woodbury has lived in New York and now resides in Los Angeles. Tale of 2Cities was conceived as a nearly six-hour work which interweaves multiple characters and story
Heather Woodbury
lines in its examination of the Dodgers' move from Brooklyn to Los Angeles and its contemporary reverberations in terms of loss of home and community and the disappearance of buildings, sites, and local identity. Her characters are amalgamations of literary and historic figures, family members, and people she has met or heard in her travels. Working with just a microphone and a few chairs as props, Woodbury gives voice to people who have gone largely unheard, but who have witnessed and, in their own individual ways, engaged in the creation of Los Angeles and Brooklyn that we know today.
Included in Woodbury's excerpts were her poignant vignette of Miriam, a sensitive Anglo woman who befriends Gabriela, a child who lives in Chavez Ravine in the 1950s just before the residents are evicted. Miriam disagrees with her husband, who wants to bring the barrio into the 20th century, while creating beautiful images ("sagging porches overgrown with pretty roses") to explain why the Mexican-American community needs to be preserved. Another excerpt features a conversation between a talkative cab driver, Mike, and his teenager passenger, Angela, who lives in the Ebbets Projects in Brooklyn. Mike's vocabulary draws heavily on baseball sayings and analogies and his cab is a shrine to his late and beloved Brooklyn Dodgers, decorated in blue satin with a bat light modeled after the chandelier that hung in the main entrance to Ebbets Field.
Michael C Ford
Following the intermission, Michael C Ford, a legendary voice in the Los Angeles poetry scene, read a narrative poem written for the occasion, entitled "From Flatbush to George Bush" [click on title to view complete text of poem]. Ford received a Pulitzer Prize nomination for Emergency Exits (1998), his volume of selected works from 1970 through 1995, and a Grammy nomination for his 1986 debut vinyl disk, Language Commando. A baseball fan whose plays have been staged internationally, including Termite Palace, a one-act homage to the last wooden stadium in the Pacific Coast League, Ford often draws from history and politics in his witty and intelligent writings. He also hosted a memorable program of baseball poetry sponsored by the Baseball Reliquary in 2002, which was documented in the Hen House Studios CD, The Los Angeles Bards: Live in Pasadena.
Next up, the acclaimed Chicano/Latino performance trio, Culture Clash, came out swinging with excerpts from their play, Chavez Ravine, performed here in the style of a radio play. Richard Montoya, Herbert Siguenza, and Ric Salinas were joined by special guest Monica Sanchez in this abbreviated version of a work which leaves no stone unturned — from Walter O'Malley to Dodger Dogs — in its examination of the history behind the displacement of the Mexican-American community to make way for the arrival of the Dodgers nearly half a century ago. In this highly ambitious production, Culture Clash lambastes the politically corrupt power elite of Los Angeles in the postwar years, and shows how the seemingly powerless families of Chavez Ravine helped foster a culture of resistance and the beginnings of a civil rights movement and Chicano activism.
Highlights of this version included Richard Montoya's impersonation of Vin Scully announcing a game pitched by Fernando Valenzuela; Herbert Siguenza's comic portrayal of Valenzuela, complete with paunchy belly and bowl-cut wig; and Siguenza's and Ric Salinas' hilarious version of Bud Abbott and Lou Costello's "Who's on First?," which in this instance starts out in English and ends in Spanish.
Sue Raney
Carmen Fanzone
Renowned vocalist Sue Raney, widely considered one of the finest interpreters of the great jazz standards, followed Culture Clash on stage with her musical trio, consisting of Frank Collett on piano, Tom Warrington on bass, and Raney's husband, Carmen Fanzone, on flugelhorn. Raney sang two haunting and nostalgic ballads of years gone by and innocence lost, Joe Raposo's "There Used to Be a Ballpark" (popularized in the 1970s when recorded by Frank Sinatra) and Dave Frishberg's "Dodger Blue." Fanzone, a former infielder with the Chicago Cubs and an accomplished studio musician, was the featured soloist on his rendition of "It Might As Well Be Spring."
A master storyteller and one of Los Angeles' most creative voices, Dan Kwong then presented his solo performance work, Dodgertown. Kwong's performances, which draw largely upon his own life experiences to explore the personal and historical, are known for their keen insight, dynamic physicality, and generous sense of humor. He often incorporates baseball references and themes into his performances, such as in his earlier solo work, Secrets of the Samurai Centerfielder. Dodgertown is Kwong's paean to the Los Angeles Dodgers, a team that he has followed religiously since the fourth grade ("If religion be the opiate of the masses, then professional sports are its Prozac — not really fixing any problems, just making them harder to notice.") Although he had his share of heroes, most notably Willie Davis, Kwong, who is Asian American, always felt some level of disconnection. Dodgertown concludes with Kwong's exultation at seeing Hideo Nomo, the first major leaguer from Japan in nearly 30 years, pitch for the Dodgers in 1995.
Dan Kwong
The evening concluded with Elayne Boosler returning to the stage to sing the National Anthem, accompanied by Nancy Bea Hefley on organ. But this was not just the usual rendition; rather it spoofed the echo common at large ballparks which often makes it a difficult experience for singers, as what they hear on the loudspeakers may be several seconds late. In this instance, while Boosler was singing live, a tape recording of Boosler singing runs several seconds late, and then even longer; the delayed sound echoes back and then the sound crosses over (as in "Row Row Row Your Boat"). By the end of the song, Boosler's voice comes out at the right place, but her lips are not moving; you hear only the voice on the tape finishing the song. Hard to visualize this finale? Probably so, because like most of the evening, you really had to be there to fully appreciate it. "Legacies: Baseball from Flatbush to the City of Angels" was totally unique in its mix of artists, whose approaches and styles ranged from the traditional to the more experimental. It was illuminating to all those in attendance to discover that an historic occurrence nearly half a century ago — the westward move of the Dodgers — continues to interest and provide meaningful source material for younger generations of artists.
The Baseball Reliquary extends its appreciation to Anne Oncken, Project Manager and Fundraiser for "Legacies," and to Eileen Cooley, Production Manager and Lighting Supervisor. This project was supported in part by grants from the City of Los Angeles Cultural Affairs Department and the Los Angeles County Arts Commission.
~ All photos courtesy of Larry Goren ~


Centarl Teacher Eligibility ( CTET ) Test is a national Level Entrance Exam held by The Central Board Of Secondary Education ( CBSE ) . CTET is valid for recruit teachers for classes 1 To 8 of Central Government Schools such as Kendriya Vidyalaya,Jawahar Navodaya Vidyalayas,etc Previos Year in whch CTET exam was held twice in a year. recently CTET 2018 will be taken in two papers : Paper 1 and Paper 2. Paper 1 is for candidate who wish to teach classes 1 TO 5 and Paper 2 is for candidates for who wish to teach classes 6 to 8. If candidate passed in both papaer , he/she is eligible for Clsses 1 to 8.
Candidates who want to be a teacher in Classes 1 to 5 must take only Paper 1 . Dyration of this paper 2.5 Hours . The paper 1 contain 150 questions divided equally into 5 section likely Child Development and pedagogy, Language 1, Language 2, Mathematics, Environment Studies .
Graduation with at least 50% marks and passed or appearing in 1 year B.Ed. Candidates belonging to reserved categories like SC/ST/OBC/Differently Abled can avail relaxation up to 5% in the minimum qualifying marks.


Center for Louisiana Studies in Library of Congress's "Folklife Today"
The Archives of Cajun and Creole Folklore, housed in the Center for Louisiana Studies, received prominent placement in last month's blog post from the Library of Congress's "Folklife Today."
"Là-bas dans Carencro" was sung for the Lomaxes by Edwin L. Stephens, a Louisiana educator and university administrator who was then serving as the first president of Southwestern Louisiana Industrial Institute (SLI) in Lafayette. You can hear that field recording here. Interestingly, SLI went on to become the University of Southwestern Louisiana (USL) and eventually the University of Louisiana at Lafayette (ULL). Back in the 1980s, an effort spearheaded by USL professor Barry Jean Ancelet resulted in the Lomax recordings being duplicated for what is now the Archives of Cajun and Creole Folklore at the Center for Louisiana Studies, which is housed at ULL. So in Louisiana, if you want to hear "Là-bas dans Carencro," you go to an archive at the same school where Stephens was president when he sang it for the Lomaxes! Many Louisiana artists have done just that, making the Lomax recordings a source for such bands as Beausoleil, Steve Riley and the Mamou Playboys, and Feufollet.


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Q: UICollectionView: control when cells are ready to be reused As far as I can tell, the only real fundamental reason I want to use collectionviews is to have the efficient built-in cell re-use system (https://stackoverflow.com/a/32574877/7612797). For example, if I want to display 100 elements, but only 5 of them show up at a time as being visible, I should use a collectionView.
However, the collectionView's recycling model is completely based on the visible bounds of the collectionView. In other words, cells get disappeared almost the instant they leave the collectionView.
I find this criteria rather stringent and inflexible for my needs. Is there a way I can override the determination of when a cell is no longer in use and should be dequeued?
My only other resort is to write my own collectionview with more flexibility on reuse determination.

redpajama_set_name: RedPajamaStackExchange


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chris wood speaks exclusively to robert lee and nick dougherty after his victory at the lyoness open powered by greenfinity and legendary golf broadcaster bob bubka helps preview the us open.
After a weather-affected third day at the Lyoness Open Powered by Greenfinity, europeantour.com took a numerical look back at the best of the action.
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Q: How to Show selected data from datalist into repeater on submit button? I have one datalist control which has some records, It also has child control checkbox named cb1 in the itemtemplate of datalist.
All I want to do is on the click of a submit button on page, all the checkboxed records should show up in the repeater down below. I managed to get the item.index value of the checked records into a array. But I don't know how to show the selected data into the repeater.
Here is an image of the page.
Image
My code
private void list_bind()
{
    SqlDataAdapter adp = new SqlDataAdapter("select * from tbbook", ConfigurationManager.ConnectionStrings["cs"].ConnectionString);
    DataSet ds = new DataSet();
    adp.Fill(ds);
    DataList1.DataSource = ds;
    DataList1.DataBind();
    Repeater1.DataSource = ds;
    Repeater1.DataBind();
}

protected void Button1_Click(object sender, EventArgs e)
{
    string a = null;
    foreach (DataListItem item in DataList1.Items)
    {
        CheckBox chk = (CheckBox)item.FindControl("cb1");
        if(chk.Checked)
        {
             a = Convert.ToString(DataList1.DataKeys[item.ItemIndex]);
        }
    }
}

}
Html code

<form id="form1" runat="server">
    <asp:DataList ID="DataList1" runat="server" BackColor="#DEBA84" BorderColor="#DEBA84" BorderStyle="None" BorderWidth="1px" CellPadding="3" CellSpacing="2" GridLines="Both" Height="206px" RepeatColumns="3" OnSelectedIndexChanged="DataList1_SelectedIndexChanged" DataKeyField="bookid">
         <FooterStyle BackColor="#F7DFB5" ForeColor="#8C4510" />
         <HeaderStyle BackColor="#A55129" Font-Bold="True" ForeColor="White" />
         <ItemStyle BackColor="#FFF7E7" ForeColor="#8C4510" />
         <ItemTemplate>
             Title: <%#Eval("booktit")%>

             Author: <%#Eval("bookaut") %>

             Pub: <%#Eval("bookpub") %>

             Price: <%#Eval("bookprc") %>

             <asp:CheckBox ID="cb1" Text="Buy" runat="server" />
         </ItemTemplate>
         <SelectedItemStyle BackColor="#738A9C" Font-Bold="True" ForeColor="White" />
    </asp:DataList>

    <asp:Button ID="Button1" runat="server" Text="Submit" OnClick="Button1_Click" />

    <asp:Repeater ID="Repeater1" runat="server">
        <ItemTemplate>
            Title: <%#Eval("booktit")%>

             Author: <%#Eval("bookaut") %>

             Pub: <%#Eval("bookpub") %>

             Price: <%#Eval("bookprc") %>

        </ItemTemplate>
    </asp:Repeater>
</form>

A: Take DataListItem into a new array let's call it duplicate & remove all the index those are unchecked from it and bind it with the repeater then.


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text:
Q: Can the Templar Heal a Witch Doctor's minions? If I play a Witch Doctor with a couple of minions, will the Templar use Heal on minions even though the text says you or the Templar?

A: In my experience, the Templar will only cast his Heal spell on the player or himself, as per the description.  I have not had him heal a minion or other ally regardless of them needing it.
I think this makes sense from a code implementation and game play point of view - it would be simpler to implement, while also avoiding frustration for Witch Doctor players if their pets got healed and then they died due to a lack of a Heal.


text:
14 July 2016 Reed Smith Client Alerts
Pennsylvania Enacts Tax Bill as Part of Budget Package
Home Perspectives Pennsylvania Enacts Tax Bill as Part of Budget Package
Authors: Christine M. Maddison Kyle O. Sollie Lee A. Zoeller Michael A. Jacobs Michael I. Lurie
Pennsylvania has enacted tax law changes projected to generate $752M in new revenue. The changes include severe restrictions on the vendor sales tax discount for timely filing, imposition of sales tax on digital downloads and software maintenance, and changes to the bank shares tax.
Yesterday, July 13, the General Assembly passed and Governor Wolf signed into law Act 84—tax code changes that are estimated to generate a net $752 million in new revenue.1 The act includes a number of changes that seem simple, but could have a huge impact on taxpayers.
Vendor Sales Tax Discount Capped Before Act 84, vendors who timely reported and remitted sales tax collections to Pennsylvania were permitted to discount their sales tax liability by 1%. For large retailers, this discount produced a large benefit for timely filing. Effective for monthly sales tax returns due August 20, 2016, this benefit is severely limited.
Under Act 84, the discount is now the lesser of 1% of the sales tax collected or (1) $25/return for monthly filers; (2) $75/return for quarterly filers; or (3) $150/return for semiannual filers. In other words, going forward, the discount is capped at $300 annually. For large retailers, this means the loss of a multimillion-dollar benefit. In fact, this change alone is expected to generate more than $55 million annually in new revenue.
There could be a challenge to this cap on the timely filing discount, so it might be worth discussing your options.
Digital Downloads and Software Maintenance Now Taxable Digital downloads were previously not treated as taxable tangible personal property by the Department of Revenue. Act 84 expressly includes digital downloads (such as apps, games and books), as well as video streaming, as enumerated taxable tangible personal property, effective August 1, 2016.
Act 84 also explicitly lists canned computer software as taxable tangible personal property, which is consistent with the holding of the Pennsylvania Supreme Court in Dechert LLP v. Commonwealth.2 Notably, Act 84 also characterizes software maintenance, updates and support for canned software as taxable tangible personal property. This treatment is in direct contradiction with the court's decision in Dechert.
Bank Shares Tax Act 84 makes a number of changes to the Bank Shares Tax. For example, Act 84 increases the tax rate from 0.89% to 0.95%, effective for the January 1, 2017 tax period (that is, the tax return filed in 2017 based on equity and apportionment in 2016). Act 84 also "clarifies" that the goodwill deduction applies to the computation of both the bank shares tax base and the deduction for U.S. obligations. (In Reed Smith's view, this point needed no clarification—the statute always allowed a deduction for goodwill from the tax base.) The act also permits taxable institutions to exclude the equity of Edge Act subsidiaries (formed pursuant to 12 U.S.C. § 611) from the bank shares tax base. This exclusion will be phased-in: starting with a 20% exclusion for calendar years beginning on or after January 1, 2018; and increasing to a 100% exclusion for calendar years beginning on or after January 1, 2022.
Act 84 also makes changes to the receipts-factor for computing the Bank Shares Tax. Specifically, it ties the "total receipts" included in an institution's receipts-factor denominator to all income amounts reported on the institution's call report. This is a change from the prior law, which computed the receipts-factor on a separate company basis. Act 84 also "clarifies" that an institution with receipts from both investment and trading assets can use Method 1 to compute its receipts-factor.3 Again, like the "clarification" for goodwill, Reed Smith's view is that no clarification was necessary because the statute, before Act 84, allowed all banks—whether they had both investment and trading assets or not—to use either method.
Changes to Corporate Tax Returns and Amended Returns
Filing Deadline Act 84 extends the deadline to file the Pennsylvania corporate tax report to May 15. As a consequence, the Pennsylvania corporate tax return filing deadline will once again be 30 days after the federal filing deadline. (This change was necessary to take into account the change to the federal corporate income tax filing deadline to April 15 starting in 2016.)
Amended Returns In response to a recent case highlighting some problems with filing amended returns in Pennsylvania, Act 84 now requires the Department of Revenue to act on an amended return within one year of the amended return filing. If the Department fails to act on an amended return within that one-year period, it will be deemed accepted by the Department. Act 84 also allows a taxpayer to file a petition for review with the Board of Appeals, if it disagrees with the Department's action on an amended return. That petition is due 90 days from the mailing date of the Department's notice.
It is important to remember that even under Act 84, an amended return is not a substitute for a petition for refund with the Board of Appeals, because an amended report may not be filed if it "takes a position that is contrary to law or published department policy." As a consequence, a taxpayer that files an amended return runs the risk that the Department will assert that the return is not valid, because it takes a position that is contrary to law or published department policy and, thus, is not covered by the deemed acceptance rule.
Additionally, filing an amended return extends the statute of limitations for assessments by one year from the date the amended return is filed. In contrast, filing a petition for refund with the Board of Appeals does not extend the statute of limitations for assessment.
Due to the restrictions on amended returns, a taxpayer seeking a refund should still file a petition for refund with the Board of Appeals, rather than filing an amended return.
Other Notable Changes
Tax Amnesty Program Act 84 authorizes a tax amnesty program allowing delinquent taxpayers to come forward and receive the benefit of: (1) a five-year lookback (instead of indefinite for non-filers); and (2) abatement of half of the interest owed. The program date is yet to be determined, but it will be before June 30, 2017.
Tobacco Tax Act 84 increases the tax on cigarettes and subjects e-cigarettes, smokeless tobacco products and roll-your-own cigarettes to tax.
Table Games Tax Act 84 increases the tax on gross table game revenue by 2 percentage points.
Lottery Winnings Taxable All lottery winnings are now subject to the personal income tax. This change is retroactive to January 1, 2016, and is estimated to bring in $16 million in annual revenue. A similar retroactive provision is being challenged in New Jersey.4
If you have questions about Act 84 and its effect on your business, please contact one of the authors of this Alert or the Reed Smith attorney with whom you usually work.
Act 84, House Bill 1198 of 2015-16.
606 Pa. 334 (2010).
The Bank Shares Tax allows a bank to apportion receipts from investments and trading using Method 1 (using the fraction of other receipts that are sourced to Pennsylvania), or Method 2 (using the fraction of investment and trading assets that are in Pennsylvania). 72 P.S. § 7701.4(3)(xiii)(B). The Department's previous position was that a bank could use Method 1 only if it did not have receipts from investment assets. See Information Notice Bank Shares Tax 2014-01 (April 14, 2014).
See Harrington v. Director, Div. of Taxation, NO. 009529-2011 (Mar. 2, 2015) (finding that state's advertisement that lottery winnings are not taxable were part of lottery contract with winners).
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redpajama_set_name: RedPajamaCommonCrawl


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Q: How can I dynamically nest vue components? I want to add one component inside other when user clicks a button. but how can we render the component in the virtual dom.
I tried using v-html but its not working.
Whats the best way to solve this issue?

export default {
    data(){
        return{
            elements : {
                hotel : '<hotel-form></hotel-form>'
            },

        }
    },
  methods:{
      addHotel(){

          console.log('add');
      }
  }
}
<template>

      <button @click="addHotel()">add hotel</button>

</template>

A: I would bind an array (hotels) to a <hotel-form> component tag via v-for. This way, no hotel-form components will be initially rendered, and then you can push an object (with any data to want bound to the hotel-form component) to the hotels array and the DOM will automatically render a new corresponding hotel-form component.
Here's a simple example:

Vue.component('hotel-form', {
  template: '#hotel-form',
  props: { id: Number, name: String },
});

new Vue({
  el: '#app',
  data() {
    return { hotels: [], count: 0 }
  },
  methods: {
    addHotel() {
      this.hotels.push({ name: 'foo', id: this.count++ })
    }
  }
});

    <hotel-form v-for="hotel in hotels" :key="hotel.id" v-bind="hotel">
    </hotel-form>

  <button @click="addHotel">add hotel</button>

<template id="hotel-form">

Hotel Form #{{ id }}

{{ name }}

</template>