So that you can ping from the user subnet, which is working. Alternatively, you can always specify the ping source IP with: execute ping-options source 'LANINTERFACEIP'. You need to set the tunnel environment properly to let it go/come through the tunnel. S 192.168.151.2/32 is directly connected, Internal-Service-Module0/0ġ92.168.152.0/24 is variably subnetted, 2 subnets, 2 masksĬ 192.168.152.0/24 is directly connected, FastEthernet0/0.1 The source IP for your pinging is X.X.X.X. + - replicated route, % - next hop override O - ODR, P - periodic downloaded static route, H - NHRP, l - LISP You could attempt a source ping from your external interface, ping source host 8.8.8.8.Ia - IS-IS inter area, * - candidate default, U - per-user static route Hello, I would suggest what BPry stated, check for management interface profiles that allow ping also security policies that allow ping from the subnets you are sourcing from. Under 'Network and Internet', click on 'View network status and tasks'. To turn Network Discovery on: Open the Control Panel (for example, by searching the Start menu). It will drop every package it receives and wont respond. And you are able to check the reachability of the OSPF-learned network by pinging : R2ping 72.40.40.1 Type escape sequence to abort. On the Windows 10 PC, Network Discovery is probably disabled. So, if you reconfigure your routers IP to be 192.168.10.2/24, then you will be able to ping your router. For switch to be able to reach a remote network (in which router resides) it needs to have a gateway that resides in its own network - 192.168.10.0/24. I - IS-IS, su - IS-IS summary, L1 - IS-IS level-1, L2 - IS-IS level-2 Your OSPF adjacency is not coming up because the IP addresses on the facing interfaces between R1 and R2 are not in the same subnet. Switch has a VLAN 1 SVI in network 192.168.10.0/24 and router is in 172.16.10.0/24 network. N1 - OSPF NSSA external type 1, N2 - OSPF NSSA external type 2Į1 - OSPF external type 1, E2 - OSPF external type 2 I do this all the time so I am surprised at this I think I am loosing my mind I tried extended ping using other sources no luck. I noticed while trying to upgrade code on the 2811 and it kept failing. For some reason I cannot ping loopback address, The loopback is for a cme.Ĭonfiguration of 2811 looks like this as well as 3750. Otherwise the the 5.5.5.0 or 6.6.6.0 networks will never make it across to the correct router.I have a 2811 hook up to a 3750. Success rate is 100 percent (5/5), round-trip min/avg/max = 0/0/0 msĪlso - as a note - when using RIP, you will need to advertise both 5.5.5.0 and 192.168.1.0. Packet sent with a source address of 6.6.6.6 Sending 5, 100-byte ICMP Echos to 5.5.5.5, timeout is 2 seconds: Packet sent with a source address of 5.5.5.5 Sending 5, 100-byte ICMP Echos to 6.6.6.6, timeout is 2 seconds: Loose, Strict, Record, Timestamp, Verbose: But I am still answering the question.įill out the form & at the Extended commands choose/type Y and enter the source address OK - I know that this is over six years OLD and I know that it is probably answered 100 times elsewhere.
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I stepped from square to square, feeling in each arrival no sequence, no consequence, but the invitation to begin again the very same consideration-though of course, in just those few feet of walking in darkness, the same consideration had already become impossible. Maybe I should begin by saying what inspired the poems-some strange almost instantaneous sense of responsibility-was walking into Robert Irwin’s “Untitled (dawn/dusk)” and seeing 18 squares of light cast down on the dark concrete floor. These poems can be described with the phrase you use about the site that inspired them they are, as you say about the physical location: a site of “profound invitation.” Yet this is also true about the poems, as you’ve noted, “the poems form their squares by certain strict procedures.” Can you discuss the interesting paradoxes and aporias organic to the truth that often “profound invitation” (and I’d add “inspired leaps of insight,” which I see in your work) arise from limitation, from strict and restricted necessities? Evanescent and beguiling, each poem’s ever-shifting surface, laced with tropes that echo and repeat, by their very poetics articulate the feeling that most have experienced-that what it is to be human is dazzlingly, tantalizingly near, and only through more acute attention to the texture of existence will we finally comprehend it.ġ …I’m delighted to be publishing another book of yours! VARIATIONS ON DAWN AND DUSK will be our second pocket series book with you. The spare, untitled poems of Dan Beachy-Quick’s Variations on Dawn and Dusk offer an extended ekphrastic meditation on the book’s cover: an image of Robert Irwin’s windows of light infinitely reflected in a dark room…These poems are about as close to music as you get on the page. These structures form a pattern, a thoughtful consistency through which we are invited to move and meditate with each variation of light. Rhythmic procedures inversely link the first and last words of the first and last lines of each poem and tie the number of lines to the number of syllables in the first line. Here, the very foundation of our vision-light-forms the vocabulary from which these poems are built.īuilding from Irwin’s use of rhythm and structure, the poems in this collection are constructed with an architectural framework. The poet’s fervent observations lead us in cycles of meditation, moving with the light that slides through the surfaces of the installation. Through this deeply engaged ekphrasis, Dan Beachy-Quick uses language to participate in the overpowering elegance of Irwin’s structure. Built on the footprint of the town’s old hospital, Irwin’s permanent installation is a remarkable structure with walls, windows, and screens that both capture and are taken over by the sun’s changing light. Acting as poetic records of light, the poems in Variations on Dawn and Dusk follow the sun as it warms, cools, colors, and shifts the space of Robert Irwin’s untitled (dawn to dusk) in the desert of Marfa, TX. He is a powerful adversary, one who will stop at nothing to achieve his goals, no matter how heinous they may be. He revels in causing pain and suffering to those around him and is not afraid to show it. These fans are not just for show they are his primary weapons, and he wields them with deadly precision.While Doma's appearance is striking, it is his sadistic and cruel nature that truly sets him apart. 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Other stars seemed to have followed his lead, at least in terms of bailing on the party. Fed up with the Grammys’ perennial mishandling of black music, R&B singer Frank Ocean protested this year’s awards by declining to submit his work for nomination and staying home. But there’s really only one change we should hope to see at next year’s Grammys: fewer stars in the crowd. That felt nice, hearing an industry darling scold the academy for making the wrong pick. “What the f- does she have to do to win album of the year?” “I feel like it was her time to win,” Adele told reporters after the ceremony. She called Beyoncé “the artist of my life,” and described the album as “so monumental, and so well thought-out, and so beautiful, and soul-baring.” Even after the band played her off, she kept on it. “My intention for the film and album was to create a body of work that will give a voice to our pain, our struggles, our darkness and our history, to confront issues that make us uncomfortable.”While collecting her awards, Adele used her allotted acceptance-speech-time to expound on “Lemonade,” too. “We all experience pain and loss, and often, we become inaudible,” she said. But were his new supporters responding to his music or to his charm blitz?Īnd what are Academy members really voting for when they cast those ballots, anyway? Recognizable names? Creative visions? Booming sales? If the answer is “all of the above,” it’s hard to see how they passed on “Lemonade.” This wasn’t just a superstar’s sharpest, riskiest, most politically-charged work it was also the third-highest-selling album of 2016.Īccepting her consolation prize on Sunday night for best urban contemporary album, Beyoncé took the dais to explain the album’s intent, but ended up explaining its appeal. Chance had a triumphant Sunday night, no question. Contemporary rap feels exceptionally vast, but this year the Grammy electorate focused its attention on Chance the Rapper, who won the golden gramophone for best new artist after cheerfully, and successfully, lobbying the industry to consider streaming-only releases for Grammy eligibility. (To that crowd: True, but don’t sleep - the neglect is actually getting worse.)Įither way, the Recording Academy seems to have a death wish, and it’s rooted in the Grammys’ continued lack of interest in rap music, the dominant pop idiom of our times. Some balk at taking a nice Sunday evening television show and “making it about race.” (Counterpoint: It would be irresponsible not to.) Others are eager to point out that the Grammys have always failed to sufficiently recognize black innovation, from James Brown, to Parliament-Funkadelic, to today. Somehow, lots of listeners are fine with shrugging this off. Go back even further, and you’ll see that white artists have won album of the year for nine consecutive years. And on Sunday, at her creative peak, Beyoncé lost to Adele. Lamar lost again in 2016, this time to Taylor Swift. Kendrick Lamar lost to Daft Punk in 2014. Frank Ocean lost to Mumford and Sons in 2013. Then, when “music’s biggest night” eventually rolls around, each and every one of these artists loses to a white act doing less-challenging, less-timely, less-imaginative work. For the past five years, black artists have been making era-defining pop music, some of which has been nominated for the heaviest Grammy in the land, album of the year. When industry voters chose Adele’s conventional bestseller, “25,” over Beyoncé’s provocative “Lemonade” for album of the year at Sunday’s 59th Grammy Awards, the ritual nonsense had finally curdled into something unacceptable. Each year on Grammy night, the Recording Academy plunges itself a few leagues deeper into a dim trench of irrelevance, making it difficult to get too worked-up over its chronic fumbles. I have been in the hotel business for 30+ years and never considered the possibility of of hotel ownership. Be sure to check out his show it’s #HospitalityUnplugged.įacebook: has truly been the season of Davonne as she has been a guest on 15 podcasts, featured in 26 articles (Forbes, Black Enterprise, The Root to name a few) developed 50 new hotel investors and closed on 2 hotels in the same day. Of course, he wouldn’t be a true hospitality guru without being a foodie, a #nonmeateats foodie at that. Russell is also the proud host of his own podcast “On Air with Russell of Hotels” which is a live Hospitality talk show where we discuss key trends, topics, and ways to stay relevant. Supporting event, meeting planners and individuals who use hotels for their events ROH is conveniently a resource for any hotel need. In 2017, Russell formed, Russell of Hotels with the dream of helping hospitality brands develop new business, more effectively reach their guests, and find their voice in a noisy digital space. Russell’s excitement and involvement in the industry speaks volumes to his commitment to excellence. Edmond, hotel guru takes his passion and expertise for “all things hospitality” to hospitality professionals, companies, and organizations - helping them create opportunities to grow their brand through connection, collaboration, and creative marketing programs and services. The full report can be found at FOLLOW US: IG: Facebook: m./dlutbpod As the owner and entrepreneur of Russell of Hotels, Russell L. With support from industry partners, Castell delivers impactful leadership development for rising female industry executives, innovative research on diversity in the hospitality industry, connecting executive women to students, WSH List connecting conference organizers to expert women speakers, and Fortuna’s Table bringing women into hotel ownership. is a 501(c)3 nonprofit dedicated to the advancement of women to the highest levels within the hospitality industry. ABOUT THE CASTELL PROJECT Castell Project, Inc. There has been progress however, Blacks in Hospitality leadership are still very much underrepresented when compared to other industries. One in 5.7 industry employees is Black compared to one of 49 Vice Presidents and one of 58 EVP/SVPs shown on websites. titled "Black Representation in Hospitality Leadership 2021", states that Black Executives represented 1.6 percent of hospitality industry executives at the executive through CEO level on company websites in 2020. A recent study published by the Castell Project, Inc. Niki and I discuss our lived experiences, where we are currently in our careers, if we should be further along based on of our years of service in the hospitality industry, and whose responsibility it is to get us to the next level. The chants were carefully crafted to enhance the sacred texts and evoke a sense of reverence and awe. They were often sung in Latin, the liturgical language of the Roman Catholic Church during the medieval period. The simplicity of the melodies allowed for deep contemplation and spiritual reflection.Ĭharacterized by their serene and melismatic nature, Gregorian chants possess a timeless quality that continues to captivate listeners to this day. These chants were predominantly monophonic, featuring a single melodic line sung in unison or by a soloist. The origins of Gregorian chants can be traced back to the early medieval period, when musical notation was still in its infancy. Gregorian chants are named after Pope Gregory I, who is credited with their organization and codification. These chants were the backbone of medieval church music, filling the sacred spaces with their hauntingly beautiful melodies. Now, prepare to be swept away by the ethereal beauty of Gregorian chants. It was a time when music played a significant role in connecting with the divine. Medieval church music served as a crucial element of religious worship, captivating the minds and souls of the devout. 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Returning to my initial example, as youth we were able to engage in a polyvalent, multifaceted conversation about abortion. “You are the best nation produced for the benefit of humanity you enjoin what is right and forbid the wrong and believe in God And if the People of the Scripture had believed it would have been better for them…” The point of this post isn’t to treat these issues as unimportant but rather to encourage more productive discourse. And others articulated the moral principle du jour of bodily autonomy vis-ắ-vis the State. On the one hand, some shockingly claimed it was an irrefutable point of consensus that abortion was ḥarām (unlawful). We have assumed the same acridity, intolerance, and overdone points of emphasis. Omit our Arabic names and occasional use of Islamic nomenclature and our conversations could have just as easily taken place between garden-variety American progressives and conservatives. Wade many Muslim commentators expressed opinions but with no such independence. In sharp contrast, when the Supreme Court officially reversed Roe v. Our conversations admitted perspectives and priorities one wouldn’t encounter on Meet the Press, 60 minutes, or Nightline. In fact, I don’t even remember my own position! However, reflecting on that time, I am deeply impressed with our ability, as young Black people, to sustain a conversation about an issue of global significance but in a distinct, personal language. Quite the reverse, there were intelligent and impassioned arguments on both sides of the issue. I don’t intend to convey that everyone at the time agreed with the sentiments expressed by the artist. This was nearly two decades ago but I recall some of the robust conversation induced by “Retrospect for Life.” Young men and women in my neighborhood actively discussed this song: in classrooms, restaurants, campus buildings, CTA buses, etc. I’ma use self-control instead of birth control Concluding the first verse, Common even raps: Astonishingly, within my context, the song was never labeled conservative, pro-life, right-wing, or any such epithets. This song appealed to the conscience of the hip hop community and addressed topics such as: the value of unborn life, sexual irresponsibility, and even high out-of-wedlock birthrates in Black communities. The start of something, I’m not ready to bring into the world… Subconsciously/ knowing the act I was a part of Knowing you the best part of life /do I have the right to takes yours? Our June 2022 analysis of a sample of ordinances from around the state found that some local regulations-such as low maximum unit size, height limitations, and other design rules-may render the construction of SB 9 homes infeasible. We also found that local governments have created restrictions that limit the potential of SB 9. Homeowners face multiple barriers to using SB 9 to split their lot and create new homes, including high construction costs and/or lack of expertise with homebuilding. However, we noted that it would be unlikely that anywhere near this number of homes would actually be built. A 2021 analysis by the Terner Center estimated that over 700,000 new homes would be newly feasible to build if SB 9 passed and taking into account on-the-ground market dynamics. Crucially, the law allows the owner to “split” their lot, which makes it easier to sell or finance additional homes on a single parcel. SB 9 allows homeowners to create up to four homes on an existing parcel, in effect, eliminating single-family-only zoning. In this commentary, we take a first look at SB 9’s preliminary outcomes by assessing new housing development enabled by the law in a handful of jurisdictions statewide, exploring how many applications were submitted, and talking to local planners about why the numbers are so low. Some of the state’s largest cities reported that they have received just a handful of applications for either lot splits or new units, while other cities reported none. One year in, we find that the impact of SB 9 has been limited so far. Others feared that the law might lead to speculation and unchecked growth at the expense of community character and vulnerable residents. Upon the law’s passage, some hailed it as a major victory for zoning reform that would open up new avenues for small-scale homebuilding in previously exclusionary places. The California HOME Act-otherwise known as Senate Bill (SB) 9-took effect on January 1st, 2022 and makes it possible for homeowners to split their home’s lot and build up to four homes on a single-family parcel. |
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