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Long Wharf in Boston, Massachusetts, USA, ca. 1874, jutting into Boston Harbor

The Barbours Cut Terminal of the Port of Houston, USA. This cargo shipping terminal has a single large wharf with multiple berths.

A wharf or quay ( /ˈkiː/, US also /ˈkeɪ/ or /ˈkweɪ/)^[1] is a structure on the shore of a harbor where ships may dock to load and unload cargo or passengers.^[2] Such a structure includes one or more berths (mooring locations), and may also include piers, warehouses, or other facilities necessary for handling the ships.

A wharf commonly comprises a fixed platform, often on pilings. Commercial ports may have warehouses that serve as interim storage areas, since the typical objective is to unload and reload vessels as quickly as possible. Where capacity is sufficient a single wharf with a single berth constructed along the land adjacent to the water is normally used; where there is a need for more capacity multiple wharves, or perhaps a single large wharf with multiple berths, will instead be constructed, sometimes projecting into the water. A pier, raised over the water rather than within it, is commonly used for cases where the weight or volume of cargos will be low.

Smaller and more modern wharves are sometimes built on flotation devices (pontoons) to keep them at the same level to the ship even during changing tides.

In everyday parlance the term quay is common in the United Kingdom and many other Commonwealth countries, and the Republic of Ireland, whereas the term wharf is more common in North America. In commercial/industrial usage wharf is typically avoided with quay being used to refer to the berthing areas, and port and terminal being used to refer to the overall structures and locations. Merriam-Webster's Dictionary of Synonyms quotes the New York Times as saying "a quay is a docking facility at which vessels lie parallel to the shoreline."^[3] In some contexts wharf and quay may be used to mean pier, berth, or jetty, though these uses are not addressed here.^[3]

In old ports such as London (which once had around 1700 wharves ^[4]) many old wharves have been converted to residential or office use.

• 

  King Henry's Wharves, typical London wharves converted to apartments

• 

  Wharf by Marriott/Pacquereau Bay on St. Thomas

• 

  Tourist boat loading passengers at a small quay, Sa Calobra, Majorca, Spain

Etymology[link]

The word comes from the Old English hwearf, meaning "bank" or "shore", and its plural is either wharfs or wharves; collectively a group of these is referred to as a wharfing or wharfage. "Wharfage" also refers to a fee ports impose on ships against the amount of cargo handled there.

In the northeast and east of England the term staithe or staith (from the Norse for landing stage) is also used. For example Dunston Staiths in Gateshead and Brancaster Staithe in Norfolk. However, the term staithe may also be used to refer only to loading chutes or ramps used for bulk commodities like coal in loading ships and barges. It has been suggested that wharf actually is an acronym for ware-house at river front,^[5][6][7] but it is actually a backronym created by Thames river boat guides.

Another explanation may be that the word wharf comes from the Dutch word "werf" which means "yard", an outdoor place where work is done, like a shipyard or a lumberyard.

See also[link]

• Canal basin
• Dock
• Jetty
• Pier
• Safeguarded wharf
• Port

References[link]

For other similarly named people, see Peter Gilmore (disambiguation)

Peter Gilmore (born 25 August 1931 in Leipzig, Germany) is a British actor, perhaps best known for his portrayal of Captain James Onedin in the BBC Television period drama The Onedin Line. He also had roles in eleven Carry On films, and played the heroic lead in the adventure film Warlords of Atlantis. He is also remembered by Doctor Who viewers as Brazen in the 1984 serial Frontios.

Gilmore also played a role as a young soldier in the World War I satirical musical Oh! What A Lovely War (1969).

He was once married to Worzel Gummidge actress, Una Stubbs; and is now married to actress and Onedin Line co-star Anne Stallybrass.

External links[link]

• Peter Gilmore at the Internet Movie Database
• Anne Stallybrass and Peter Gilmore A site dedicated to the actors Anne Stallybrass and Peter Gilmore.

This article about a United Kingdom film and television actor or actress is a stub. You can help Wikipedia by expanding it. v t e

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2007)

The Brothers Quay
The Brothers Quay – Wrocław (Poland), July 24, 2010
Born	(1947-06-17) June 17, 1947 (age 65) (identical twins) Norristown, Pennsylvania, U.S.
Occupation	film director animators

Wikimedia Commons has media related to: Brothers Quay

Stephen and Timothy Quay ( /ˈkweɪ/ KWAY) (born June 17, 1947 in Norristown, Pennsylvania) are American identical twin brothers better known as the Brothers Quay or Quay Brothers. They are influential stop-motion animators. They are also the recipients of the 1998 Drama Desk Award for Outstanding Set Design for their work on the play The Chairs.

Careers[link]

The Quay Brothers reside and work in England, having moved there in 1969 to study at the Royal College of Art, London ^[1] after studying illustration at the Philadelphia College of Art, now the University of the Arts in Philadelphia. In England they made their first short films, which no longer exist after the only print was irreparably damaged.^{[citation needed]} They spent some time in the Netherlands in the 1970s and then returned to England where they teamed up with another Royal College student, Keith Griffiths, who produced all of their films. The trio formed Koninck Studios in 1980, which is currently based in Southwark, south London.

The Quay Brothers' works (1979–present) show a wide range of often esoteric influences, starting with the Polish animators Walerian Borowczyk and Jan Lenica and continuing with the writers Franz Kafka, Bruno Schulz, Robert Walser and Michel de Ghelderode, puppeteers Wladyslaw Starewicz and Richard Teschner and composers Leoš Janáček, Zdeněk Liška and Leszek Jankowski, the last of whom has created many original scores for their work. Czech animator Jan Švankmajer, for whom they named one of their films (The Cabinet of Jan Švankmajer), is also frequently cited as a major influence, but they actually discovered his work relatively late, in 1983, by which time their characteristic style and preoccupations had been fully formed.^[2] At a panel discussion with Daniel Bird and Andrzej Klimowski at the Aurora festival Norwich they emphasized the more significant influence on their work was Walerian Borowczyk, who made both animation shorts and live-action features.

Most of their animation films feature puppets made of doll parts and other organic and inorganic materials, often partially disassembled, in a dark, moody atmosphere. Perhaps their best known work is Street of Crocodiles, based on the short novel of the same name by the Polish author and artist Bruno Schulz. This short film was selected by director and animator Terry Gilliam as one of the ten best animated films of all time,^[3] and critic Jonathan Romney included it on his list of the ten best films in any medium (for Sight and Sound's 2002 critics' poll).^[4] They have made two feature-length live action films: Institute Benjamenta, or This Dream People Call Human Life and The Piano Tuner Of Earthquakes. They also directed an animated sequence in the film Frida.

With very few exceptions, their films have no meaningful spoken dialogue—most have no spoken content at all, while some, like The Comb (From the Museums of Sleep) (1990) include multilingual background gibberish that is not supposed to be coherently understood. Accordingly, their films are highly reliant on their music scores, many of which have been written especially for them by the Polish composer Leszek Jankowski. In 2000, they contributed a short film to the BBC's Sound On Film series in which they visualised a 20-minute piece by the avant-garde composer Karlheinz Stockhausen. Whenever possible, the Quays prefer to work with pre-recorded music, though Gary Tarn's score for The Phantom Museum had to be added afterwards when it proved impossible to licence music by the Czech composer Zdeněk Liška.

They have created music videos for His Name Is Alive ("Are We Still Married", "Can't Go Wrong Without You"), Michael Penn ("Long Way Down (Look What the Cat Drug In)") and 16 Horsepower ("Black Soul Choir"). Some people mistakenly believe that the Quays are responsible for several music videos for Tool, but those videos were created by Fred Stuhr and member Adam Jones, whose work is influenced by the Quays. Although they worked on Peter Gabriel's seminal video "Sledgehammer" (1986) as animators, this was directed by Stephen R. Johnson and the Quays were unhappy with their contribution, believing it to be more imitative of Švankmajer's work than truly distinctive in its own right.

Before turning to film, the Quays worked as professional illustrators. The first edition of Anthony Burgess' novel The Clockwork Testament, or Enderby's End, feature their drawings before the start of each chapter. Nearly three decades before directly collaborating with Stockhausen, they designed the cover of the book Stockhausen: Conversations with the Composer (ed. Jonathan Cott, Simon & Schuster, 1973). After designing book covers for Gothic and science fiction book cover commissions they did while in Philadelphia, the Quays have created suggestive designs for a variety of publications that seem to reflect not only their own interests in particular authors, covers for Italo Calvino, Louis-Ferdinand Céline or Mark le Fanu's study of the films of Andrei Tarkovsky, but also in themes and motifs that these authors develop. Literary texts are inspirational sources for almost all of their film projects, whether they serve as a point of departure for their own ideas or as a textual basis for filmic scenarios, and not as scripts or screenplays. The prowess in illustration and calligraphy seeps increasingly into many formal elements in their later films, evident as graphic embellishment in the set decoration, or their particular use of patterns in the puppets' costume design. Titles, intertitles and credits appear in a variety of handwritten styles.

The critical success of Street of Crocodiles gave the Quay Brothers artistic freedom to explore a shift in subject matter, in part originating in literary and poetic sources that led to exploration of new aesthetic forms, but also because they were able to make extensive experiments in technique, both with cameras and on large stage sets. The Quays are best known for their puppet and feature length films. Less known, but no less incisive in their creative development is their intense engagement in stage design for opera, ballet and theatre: since 1988, the Quays have created sets and projections for performing arts productions on international stages. Their work at miniature scale has translated into large-scale decors for the theatre and opera productions of director Richard Jones: Prokofiev's The Love for Three Oranges; Feydeau's "A Flea in Her Ear"; Tchaikovsky's Mazeppa; and Molière's "Le Bourgeois Gentilhomme". Their set design for a revival of Ionesco's "The Chairs" was nominated for a Tony Award in 1998. The Quays' excursion into feature films and live-action dance films are by no means an indication of a move away from animation and the literature that inspires them—on the contrary, this next film explores the potential which slumbers in the combination of these cinematic techniques. Their puppet animation set designs have been curated as an internationally touring exhibition called "Dormitorium" and most recently on display in 2010 at Parsons School of Design, New York.^[5]

The Quay Brothers are regular guests at film festivals, art colleges and universities, most recently at The European Graduate School in Saas-Fee, Switzerland.^[6]

In June, 2010, The College of Physicians of Philadelphia received a grant from the Philadelphia Exhibitions Initiative of the Pew Charitable Trusts for $287,000. The Quays were commissioned to produce a new film entitled Anatomica Asthetica. The film is their first produced in the United States, and focuses on the history and collections of the College's famed Mütter Museum. It is expected to be released in Fall 2011 with symposia at The College of Physicians of Philadelphia in Pennsylvania; New York City's Museum of Modern Art; and the Museum of Jurassic Technology in Los Angeles.

The interdisciplinary performance artist, dancer, and multiple amputee Lisa Bufano lists the animation of the Quay Brothers as an influence in her artist's statement.^[7]

The Brothers Quay have been commissioned by Leeds Canvas, a group of eight cultural organisations in Leeds, UK, to create a major city-wide art installation, OverWorlds & UnderWorlds in May 2012. The commission is one of twelve Artists Taking the Lead projects around the UK, Arts Council England's flagship contribution to the London 2012 Cultural Olympiad.

Filmography[link]

Feature films

• Institute Benjamenta, or This Dream People Call Human Life (1995)
• The Piano Tuner of Earthquakes (2005)

Short films

• Nocturna Artificialia (1979)
• Punch And Judy (Tragical Comedy or Comical Tragedy) (1980)
• Ein Brudermord (1981)
• The Eternal Day Of Michel de Ghelderode (1981)
• Stravinsky – The Paris Years (1983)
• Leoš Janáček: Intimate Excursions (1983)
• The Cabinet of Jan Švankmajer (1984)
• The Epic of Gilgamesh, or This Unnameable Little Broom (1985) aka Little Songs of the Chief Officer of Hunar Louse
• Street of Crocodiles (1986)
• Stille Nacht I: Dramolet (1988)
• Rehearsals For Extinct Anatomies (1988)
• Old Piano (1988) – an ident for MTV
• Ex-Voto/The Pond (1989)
• The Comb (From The Museums Of Sleep) (1990)
• Rain Dance (1990) – a short film for Sesame Street
• De Artificiali Perspectiva, or Anamorphosis (1991)
• The Calligrapher (1991) – an ident commissioned for the BBC2 television channel, but never broadcast
• Stille Nacht II: Are We Still Married? (1991)
• Long Way Down (Look What The Cat Drug In) (1992)
• Stille Nacht III: Tales From Vienna Woods (1992)
• Stille Nacht IV: Can't Go Wrong Without You (1993)
• The Summit (1995)
• In Absentia (2000)
• Duet (2000)
• Stille Nacht V: Dog Door (2001)
• The Phantom Museum: Random Forays Into the Vaults of Sir Henry Wellcome's Medical Collection (2003)
• Inwentorium śladów (2009) Poland (23')
• Maska (2010)^[8]
• Through the Weeping Glass (2011)^[9]

Appearances

• The Falls (1980)

References[link]

Further reading[link]

Journal articles on the Quay Brothers

• • Buchan, Suzanne, "Liberation of the Mistake: A Glimpse into the Quay Brothers" Research Process', in: Proof, Vol 3 No 1 (2008): 16-20
  • Costatini, Gustavo. "De Artificali Perspectiva: The Brothers Quay's Use of Sound and Music." Filmwaves Magazine, Issue 32 (2007): 43-47
  • Buchan, Suzanne H. 'Choreographed Chiaroscuro, Enigmatic and Sublime.' Film Quarterly, Spring (1998): 2–15.
  • Nichols Goodeve, Thyrza. "Dream Team: Thyrza Nichols Goodeve Talks with the Brothers Quay." Artforum, April (1996)

Hammond, Paul. "In Mystery, Shrouded: On the Quays' New Film." Vertigo Magazine, Vol. 1 No.5 (1995): 18-20

• • Atkinson, Michael. "The night countries of the Brothers Quay." Film Comment, September/October (1994): 36-44
  • Atkinson, Michael. "Unsilent night: The Brothers Quay." Film Comment, Vol. 30 No. 5, September/October (1995): 25-38
  • Romney, Jonathan. "The Same Dark Drift." Sight and Sound, Vol. 1, No. 11 (1992): 24-27
  • Romney, Jonathan. "Brothers in Armature." City Limits. No. 446 (1990): 16-17
  • Atkinson, Michael. "Stirrings in the Dust." Afterimage, No. 13 (1987): 4-9
  • Wadley, Nick. "Masks, Music, and Dances of Dream". PIX, no. 2, January 1997, 126-134; + Interview with Brothers Quay, 135-143

Hammond, Paul. "In Quay Animation." Afterimage 13, Autumn 1987: 54-67

Academic essays on the Quay Brothers

• • Buchan, Suzanne. "The Animated Spectator: Watching the Quay Brothers' 'Worlds'". In Suzanne Buchan (Ed) Animated Worlds, pp 15–38. Eastleigh: John Libbey Publishing, 2006. ISBN 0-86196-661-9

• • Weiner, Steve. "The Quay Brothers' The Epic of Gilgamesh and the 'Metaphysics of Obscenity'" in J. Pilling (Ed.), A Reader in Animation Studies London, John Libbey & Company, 1997.

Books on the Quay Brothers

• • Mikurda, Kuba and Prodeus, Adriana (Eds). Trzynasty miesiąc. Kino Braci Quay. Cracow-Warsaw: Korporacja Ha!art & IFF Era New Horizons, 2010. ISBN 978-83-61407-62-1. (in Polish)
  • Buchan, Suzanne. The Quay Brothers. Into a Metaphysical Playroom. University of Minnesota Press, 2010. ISBN 0-8166-4659-7
  • Pilling, Jayne and Fabrizio Liberti (Eds). Stephen e Timothy Quay. Bergamo: Stamperia Stefanoni, 1999.

Catalogues

• • Costa, Jordi. (Ed) "Quay Brothers". Sitges: Sitges Festival Internacionale de Cinema de Cataluna, 2001.

DVD

• • Brooke, Michael (Ed), Quay Brothers—The Short Films 1979–2003. London: BFI, 2006. ISBN/EAN: 5035673006535
  • The Brothers Quay Collection: Ten Astonishing Short Films 1984–1993. DVD Region 1 / NTSC. Kino Video. Release date 2000. 120 minutes. ISBN 6305957681
  • Institute Benjamenta, or This Dream People Call Human Life (1995) DVD Region 1 / NTSC. Kino. Release date 2000. B/w, 104 minutes. ISBN 630595769X
  • Institute Benjamenta, or This Dream People Call Human Life (1995) VHS PAL. ICA Projects Ltd. Release date 1996. B/w, 104 min.
  • The PianoTuner of EarthQuakes (2005) Zeitgeist Films. Region 1 /NTSC. Release date 2007. Colour and b/w, 99 minutes.
  • The PianoTuner of EarthQuakes (2005). DVD Region 2 / PAL. Artificial Eye. release date 2006. Colour and b/w, 99 minutes.
  • L'Accordeur de tremblements de terre DVD Region 2 / PAL. E.D. distribution. Release date 2007. Colour and b/w, 99 minutes.

External links[link]

• Quay Brothers profile at European Graduate School, biography, bibliography and video lectures
• Senses of Cinema. Great Directors Critical Database
• Senses of Cinema. Through a Glass Darkly Interview with the Quay Brothers
• Timothy Quay at the Internet Movie Database
• Stephen Quay at the Internet Movie Database
• The Short Films of The Quay Brothers at Zeitgeist Films
• Videos by Brothers Quay

Vice Ganda
Birth name	Jose Marie Viceral
Born	(1976-03-31) March 31, 1976 (age 36) Tondo, Manila, Philippines
Medium	Stand-up comedy, television, film, music
Nationality	Filipino
Years active	1999–present
Genres	observational comedy, satire
Subject(s)	everyday life, current events, pop culture, human sexuality
Influences	Roderick Paulate, Dolphy, Allan K, Joey de Leon
Notable works and roles	Gandang Gabi, Vice!, It's Showtime, Praybeyt Benjamin, Petrang Kabayo

Vice Ganda (born March 31, 1976) is a Filipino stand-up comedian, television host and actor. He is best known as the main judge on ABS-CBN’s talent show It's Showtime and the host of Gandang Gabi, Vice!.
He is declared as 43rd Box Office Entertainment Awards, Phenomenal Box Office Star & Male Concert Performer of the Year, in the year 2012.

He is also known for his lead roles in commercially successful films Petrang Kabayo and The Unkabogable Praybeyt Benjamin which became the highest-grossing film in Philippines.^[1][2][3]

He gained popularity for his comic routines, for which he uses observational comedy on typical “Pinoy” lifestyle and his use of situational irony and sarcasm when reacting to Filipino culture & behavior and human sexuality. He is the first openly gay endorser for a major product in the Philippines, which is Globe Telecom in the Philippines.^[4][5]

Early life[link]

Vice, Jose Marie Viceral, is the youngest of five children. He grew up in the neighborhood of José Abád Santos Street in Manuguit, Tondo, Manila. His father, a barangay captain, was murdered when he was young prompting his mother to work as a caregiver abroad leaving them by themselves. He obtained his college education at Far Eastern University studying Political Science.^[6] Around the age of 19, Vice was writing and performing his stand-up comic routines in comedy bars in Ermita, Manila.

Career[link]

Stand-up comedy[link]

Vice launched his stand-up career in Punchline and The Library, whose manager Andrew de Real gave him the screen name “Vice Ganda”.^[7] There he spent several years developing his materials in the comedy clubs. Vice’s career began to build after appearances on television and reviews from tabloid columns. He worked alongside fellow comedians Chocoleit, Pooh, John Lapus and Rey Kilay.

Television career[link]

He appeared in several TV series and sitcoms 'Dyosa under the direction of Wenn V. Deramas. Vice also had another supporting role in the drama series Maging Sino Ka Man: Ang Pagbabalik.

His biggest break came in 2009, when he became part of Showtime, a talent search program which made him a regular host/judge until present. His life story of being bullied as a young closeted gay has also been featured in the drama anthology, Maalaala Mo Kaya.^[8] Aside from Showtime, he is currently hosting his own Sunday talk show, the consistently top rated Gandang Gabi, Vice!.^[9] Currently he is under the management of ABS-CBN, handling him is business unit head Deo Endrinal^[10] after being managed for four years^[11] by local entertainment columnist/host Ogie Diaz.^[12]

Film career[link]

Vice starred in minor roles until in 2009 where he appeared alongside Vilma Santos and John Lloyd Cruz in the film In My Life, depicting a story of a young Filipino gay couple struggling life in New York when one of their parents tries to live with them. A year later he starred in a comedy film, a remake of Petrang Kabayo.^[13] It proved to be a hit when it was released.^[14] The following year, Vice starred in Praybeyt Benjamin with Derek Ramsay directed by Wenn V. Deramas. The movie became the first local film to reach 300-million Pesos in ticket sales and proved to be an even greater box office success than Petrang Kabayo.^[15] He is presently under contract with Viva Films.^[16]

Music[link]

On June 15, 2011, Vice released his first studio album, Lakas Tama. The album was released under Vicor Records and featured mostly pop and novelty songs including "Palong Palo" written by Callalily frontman Kean Cipriano.^[17] He is also included in the compilation album of Showtime released by Star Records.

Filmography[link]

Television[link]

Film[link]

Discography[link]

Studio album[link]

Compilation album[link]

Awards/ Nominations[link]

References[link]

External links[link]

• Vice Ganda Website
• Vice Ganda Official Facebook profile
• Vice Ganda Official Twitter account