Memphis (musical)

Memphis is a musical by David Bryan (music and lyrics) and Joe DiPietro (lyrics and book). It is loosely based on Memphis disc jockey Dewey Phillips, one of the first white DJs to play black music in the 1950s. It played on Broadway from October 19, 2009 to August 5, 2012. This production won four 2010 Tony Awards, including Best Musical. The show was previously staged at the North Shore Music Theatre in Beverly, Massachusetts and TheatreWorks in Mountain View, California during the 2003-04 season, as well as the 5th Avenue Theatre in Seattle during the 2008-2009 season.

Synopsis

Act 1

There's a party at Delray's, an underground black Rock and Roll bar in 1950s Memphis ("Underground"). Huey Calhoun, a white man, arrives on the scene. The regulars begin to leave, but Huey convinces them to stay, claiming he is there for the music ("The Music of My Soul"). Later, Huey is about to be fired from his job as a stock boy at a local department store, but he makes a deal with the owner, if he can sell 5 records by playing them over the speakers, he can have a sales job. Huey plays a rock & roll hit ("Scratch My Itch"). He sells 29 records in five minutes, but the store owner fires him anyway, incensed at the type of music being played.

Memphis, Egypt

Memphis (Arabic: منف‎ Manf  pronounced [mænf]; Greek: Μέμφις) was the ancient capital of Aneb-Hetch, the first nome of Lower Egypt. Its ruins are located near the town of Mit Rahina, 20 km (12 mi) south of Giza.

According to legend related by Manetho, the city was founded by the pharaoh Menes. Capital of Egypt during the Old Kingdom, it remained an important city throughout ancient Mediterranean history. It occupied a strategic position at the mouth of the Nile delta, and was home to feverish activity. Its principal port, Peru-nefer, harboured a high density of workshops, factories, and warehouses that distributed food and merchandise throughout the ancient kingdom. During its golden age, Memphis thrived as a regional centre for commerce, trade, and religion.

Memphis was believed to be under the protection of the god Ptah, the patron of craftsmen. Its great temple, Hut-ka-Ptah (meaning "Enclosure of the ka of Ptah"), was one of the most prominent structures in the city. The name of this temple, rendered in Greek as Aί γυ πτoς (Ai-gy-ptos) by the historian Manetho, is believed to be the etymological origin of the modern English name Egypt.

Stempel Type Foundry

D. Stempel AG was a German typographic foundry founded by David Stempel (1869–1927), in Frankfurt am Main, Germany. Many important font designers worked for the Stempel foundry, including Hans Bohn, Warren Chappell, F. H. Ehmcke, Friedrich Heinrichsen, Hanns Th. Hoyer, F. W. Kleukens, Erich Meyer, Hans Möhring, Hiero Rhode, Wilhelm Schwerdtner, Herbert Thannhaeuser, Martin Wilke, Rudolf Wolf, Victor Hammer, Hermann Zapf, and Gudrun Zapf von Hesse. With the introduction of Memphis in 1929, the foundry was the first to cast modern slab serif typefaces.

From 1900 to 1983, Stempel had an exclusive relationship with Mergenthaler Linotype Company, as one of just a few producers of matrices for the Linotype machine worldwide and the only one in Europe. Starting in 1925, Stempel types were distributed in the United States by Continental Type Founders Association. Linotype AG became the majority stockholder in 1941. In 1977 Stempel begins manufacturing Phototypesetting equipment.

Wait (Wang Chung song)

"Wait" is a single by Wang Chung, released as the fourth and final single from their 1984 album, Points on the Curve. The single reached #87 on the UK Singles Chart. Aside from the early singles released as Huang Chung, "Wait" was the only single by Wang Chung that failed to chart on the U.S. Billboard Hot 100. However, it peaked at #17 on the U.S. Billboard Hot Dance Club Play chart.

No music video was shot for "Wait".

Wait is also the only Wang Chung song to appear on two different non-compilation albums. Wait originally appeared on Points on the Curve, but was used again in the To Live and Die in L.A. soundtrack when director William Friedkin liked the song so much, he wanted to incorporate it into his 1985 thriller, To Live and Die in L.A. "Wait" appears during the end credits of the film.

Track listing

Charts

Graffiti (Chris Brown album)

Graffiti is the third studio album by American R&B and pop recording artist Chris Brown. It is the follow-up to his successful second album Exclusive (2007). The album was produced during 2008 to 2009 by several record producers, including Polow Da Don, Swizz Beatz, The Runners, and Brian Kennedy. Primarily an R&B and pop outing, Graffiti incorporates elements of hip hop music with synthesizers.

The album debuted at number seven on the U.S. Billboard 200 chart, selling 102,489 copies in its first week. To date, "Graffiti" has sold 360,000 copies in the US. It became his third consecutive top-ten debut in the United States and produced three singles that achieved moderate chart success. Upon its release, Graffiti received generally negative reviews from most music critics. Graffiti was nominated for two Grammy Awards, one for Best Contemporary R&B Album and Best R&B Performance by a Duo or Group with Vocals for the track, "Take My Time" featuring fellow R&B singer Tank.

Wait (Earshot song)

"Wait" is the lead single from Earshot's second album Two. It reached #13 on the Mainstream Rock charts and #33 on the Modern Rock charts.

Although it did not chart as well as the band's debut single, "Get Away," "Wait" is considered a breakthrough hit for the band and helped launch them into further mainstream success. It was featured on the video game soundtracks to both Madden NFL 2005 and MX vs. ATV Unleashed. An alternate version was also included on the former soundtrack as The D.O.C. vs. Earshot - "The Madden Re-Match." "Wait" was also featured in the DVD Tampa Bay Lightning 2004 Stanley Cup Champions. Former UFC Lightweight Champion Sean Sherk has used it as his entrance music as well.

Lyrically, the song deals with the frustration of loneliness and indifference toward the world. Phrasing is somewhat general and a particular inspiration or meaning behind "Wait" is not evident. Despite these melancholy themes, the song is rather quick-paced and headstrong in its execution.