![]() Various possible maxima and Zenithal Hourly Rate (ZHR) strengths have been proposed, primarily due to dust trails left by the shower's parent comet 55P/Tempel-Tuttle at its 14 returns, with the better peaks expected between roughly 20h40m to 22h00m UT on November 17. All observing techniques can be usefully employed.Īlthough the run of strong to storm Leonid returns seen from 1998-2002 is unlikely to repeat again until the 2030s (or perhaps even till next century), independent model calculations by David Asher, Esko Lyytinen & Marku Nissinen, Mikhail Maslov and Jeremie Vaubaillon have indicated 2009 may bring strong rates again. Of course, other possible maxima are not excluded (look out for updates nearer the time), and observers should be alert as often as conditions allow throughout the shower, in case something unexpected happens. Even here, radio coverage of the shower will be possible for part of that time. As the Leonid radiant rises usefully only around local midnight (or indeed afterwards south of the equator), the 21h-22h UT apparently critical interval will fall best chiefly for sites across Asia, from the extreme east of Europe eastwards to Japan and places at similar longitudes, but with the possibility of some unusual activity at almost any stage from ~ 6h-24h UT on November 17, only European and African longitudes look set to miss out. Luckily, new Moon on November 16 ensures perfectly dark skies for covering whatever events happen (remembering that there are no guarantees in meteor work!). The nodal crossing time listed above is another possible peak, based on previous non-enhanced returns, though its ZHR is likely to be a more modest 10-20.Ĭlearly, the evening to early morning UT hours of November 17/18 are likely to be of greatest observer interest. Other submaxima with lower rates are possible too, around November 17, 7h26m (ZHRs ~ 200+), 9h (~ 25-30), November 18, 0h04m (~ 15) and 19h UT (~ 10-15, faint meteors), according to some of these same researchers. Mikhail suggested ZHRs should peak in that hour too, with ZHRs of ~ 130-140, but Jérémie's modelling implied the chance of a possible meteor storm, with ZHR peaks around 21h44m (ZHRs ~ 950+) and 21h51m UT (~ 600) combining to give a rate perhaps in the 1000-1500 range briefly. ![]() This increased ZHR level will probably combine with that from the 1533 trail to push ZHRs up perhaps towards 120 at some stage between 21h-22h UT on the 17th. Esko & Marku's work suggests the 1466 trail may produce heightened rates generally, with ZHRs above 20, from about 6h30m UT on November 17 till 0h30m UT on November 18, and likely above ~ 40 from ~ 16h-23h UT on November 17. Trails laid down by the comet in 14 are expected to be the chief contributors to whatever happens, with peaks on November 17, due at sometime from about 20h40m to 22h UT then. This year may produce another enhanced return, with ZHRs predicted to peak at 100+ according to independent theoretical work by David Asher, Esko Lyytinen & Marku Nissinen, Mikhail Maslov, and Jérémie Vaubaillon. The most recent perihelion passage of the Leonids' parent comet, 55P/Tempel-Tuttle, in 1998 may be more than a decade ago now, but the shower's activity has continued to be fascinatingly variable from year to year.
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If it's not, you can of course add it manually - you'll need the IP and port of the PC/device you want to wake AND the MAC address. It's a super quick way to identify if your device is visible to Android wifi or whatever it is connected with. What's nice with this app is it will scan your local network for you and list all your devices and MACs, and you can quickly identify your device by either IP or MAC. In the Android "Wake On Lan" app you need to add your device. Your steps should be somewhat similar but it always depends on the manufacturer of your hardware AND the OS/software to be compatible. There's some new funky crap in Windows 10 quick boot and power states (S#) that messes with wake on lan these days. This was weird for me because prior to Windows 10, I never needed an application. 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Nevertheless, clear-headed as he sounds in those moments, there’s no question the man’s in a shaken state, quite likely because of the late Beatle’s passing it’s perfectly understandable then to hear Tom’s homage to another good friend with the knowing Bob Dylan vocal impersonation on “Have Love Will Travel.” Petty’s singular voice rings loud and clear as ever on this LP’s highlights. In that respect, the self-renewing dynamic so described in that song is very much akin to this Heartbreakers band, at this point including returnee bass-player Ron Blair alongside new recruits multi-instrumentalist Scott Thurston and former Average White Bandman Ferrone at the kit.Īppropriate to the folk-like acoustic guitar foundation of “Blue Sunday,” the chief songwriter also shines a light on the complex nature of relationships, this time in a dramatic narrative populated by the same kind of vivid characters that peopled “Into The Great Wide Open.” As black and white as Tom paints the business issues on The Last DJ, he’s not so naive when it comes to the human condition. Perhaps the most genuinely upbeat cut here in both mood and beat, “You And Me” is even more explicit in its depiction of devotion with a life of its own. Meanwhile, “The Man Who Loves Women” would sound like an indefensible glorification of misogyny if not for its lighthearted tone, elevated by Beach Boys-type harmonies from Fleetwood Mac’s Lindsey Buckingham and an arrangement anchored by ukulele: it was a favorite instrument of Harrison’s in his later years and one he actually taught TP to play it as they became close. “Joe,” however, is another unrelenting screed aimed at a record company exec (hitting VERY close to home for those familiar with the WB hierarchy). The twisting fretboard figures of Mike Campbell and languorous vocals are an even more explicit tribute to the author’s bandmate in the Traveling Wilburys and keyboardist Benmont Tench is never more prominent on The Last DJ than here as if it were necessary, it’s evidence of his indispensable yet unremittingly understated presence on the group’s recordings. ![]() But it’s hardly so illuminating as “Like A Diamond,” paean to love as a refuge from a bizarre world that, in its deliberate gait and soft chiming guitars again recalls vintage Harrison. The guarded stomp of “When A Kid Goes Bad” also sounds like something personal to Tom Petty–again, especially so for those cognizant of his childhood history. Petty suggests nostalgia is no less self-deceiving than mercenary pursuits (and often inextricably intertwined)and, in keeping with such lofty thoughts, the swells of orchestration arranged by Jon Brion distinctly recall the layered production of the aforementioned ex-Beatle’s halcyon solo debut All Things Must Pass. “Dreamville” moves along similar lines on a topic slightly-related to the latter number. Yet as much as that first number captures the quintessential sound of the band in its driving rhythm guitars and Steve Ferrone’s foursquare drumming, on the latter tune, the band’s chief songwriter and leader takes a more oblique angle on his subject than in the other diatribe. But there are also songs of personal expression that present an implicit homage to Tom’s recently-departed good friend George Harrison, who had passed just the year prior to this Warner Brothers release.Īt the very outset of this eleventh Petty/Heartbreakers studio album (and the third for the major label), the title track and “Money Becomes King” are both critical of greed in the music industry. Certainly, there are tracks on which the pugnacious Floridian homes in on the antiseptic and anonymous in what used to be a bastion of good exposure for popular music of all kinds. ![]() ![]() It didn’t take twenty years of hindsight years to discern that Tom Petty and the Heartbreaker’s album The Last DJ (released 10/8/02) was about more than the corporate takeover of commercial radio. ![]() The scattered film equipment and chalk marks on the floor you eventually find in various rooms would clue you in as such. You’d be forgiven for believing that you’re there at the behest of your agent in order to shoot a big Hollywood production. In Layers of Fear 2, you take on the role of an actor, brought aboard the ocean liner Icarus Transatlantic. The original game placed you in the shoes of an alcoholic painter who stopped at nothing to create his magnum opus. The Layers of Fear games are all about good art gone bad. And don’t worry about messing things up you may get a second chance. Oh, be sure to listen to the director’s instructions, but you are free to improvise if the inspiration strikes you. The ship sways and sighs as waves crash against its hull. Around you are clues, forgotten artifacts whispering of a life deserted - then rebuilt, time and again. Glancing inside the various rooms, you see discarded clothes and belongings. You stand alone in a long hallway of a seemingly derelict ship. Your motivation: discovering and, perhaps, accepting the tragedy of your past. ![]() These, along with references to classic horror movies and the use of all-too-adult themes regarding blame, regret, guilt, and shame make this a memorable psychological horror adventure that's well worth the experience.The scene: Layers of Fear 2. The prospect of being chased keeps tension high, dream sequences provide much-needed weirdness, and the gravelly narration by Tony Todd (of Candyman fame) is sure to get horror fans' hearts racing. Still, despite covering some fairly familiar ground, horror fans will enjoy when the game makes them tip-toe. Add to that the prevalence of darkness, things jumping out from the dark, scary, sometimes moving mannequins, and sprays of blood, and this is not a game for younger kids.) 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As in the original Layers of Fear, the main character's got some issues that need working out. This survival-horror sequel does a fairly good job of walking the tightrope of familiarity and innovation, but lacking the surprise of its predecessor, could feel like “too much of the same.” There's something inherently spooky in Layers of Fear 2 about cruise ships, especially the Art Deco ships of the 1930's, and the claustrophobic hallways, moody lighting, and cage-style elevators set the stage for horror. |
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