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User talk:Andrewa/archive3

Thread mode
''The original threaded discussion on this topic is now archived at user talk:andrewa/archive2, but feel free to restart any threads you like here, linking to it in need, or to start new ones. ''

Does unthreaded mode work? (thread mode)
I'm finding it very hard to answer Anthony's latest post in unthreaded mode, so I'll try starting a thread here. Apart from this preamble, the unindented text here is copied from the unthreaded discussion below. The copy from the unthreaded discussion below is unchanged, I've just made a second copy of some of it for the purposes of changing modes. None of the unindented text should now change, but there's no guarantee that the text from which it was copied won't change as it's a live unthreaded discussion. This preamble is starting out as three paragraphs but may of course be split by subsequent indented paragraphs.

What I've copied to here consists of Anthony's latest post preceded by my comments to which I think he was replying. I'm not quite sure what to do about Anthony's undated signature which I have copied with the text. I'm quite happy for it to be updated provided this does not disrupt the thread, I don't personally see any need for this but it's his signature.

 * And he's now removed it. I think what were his comments and what were mine is still clear. Andrewa 07:10, 5 May 2004 (UTC)

If this seems verbose and complicated, reflect that none of it would be needed if we had just used plain old thread mode from the start. I've taken a deep breath and decided to try to swap back. It's part of the experiment. Andrewa 20:54, 4 May 2004 (UTC)

Can the modes be mixed? There are two problems with mixing them, which I have elsewhere called semi-threaded mode. Firstly, if one user (typically Anthony) modifies their comments within a thread where others are assuming thread mode, the result is a mess. Secondly, if the other participants heed Anthony's warning and restrict themselves to making comments that don't depend for their sense on his text remaining unchanged, the result is that they need to be far more verbose in their replies, and may give up entirely. Either way, there's every chance that the conversation is destroyed, with Anthony getting the last word. That's not good. Andrewa 18:38, 28 Apr 2004 (UTC)

I actually think it's absolutely necessary to mix them. Short questions or comments don't work well in strictly unthreaded mode.

 * This simply shows that unthreaded mode isn't adequate, which I think is now agreed. It doesn't show that mixed mode is absolutely necessary at all. What about thread mode?

I've got an idea to possibly address what seems like your biggest concern. Whenever I modify a signed post after it has been replied to, I'll add [comment modified after response] right after the sig.

 * Yes, that would help, and I'd suggest you do, and modify your warning to reflect this. But it doesn't solve the basic problems of mixed mode.

Yes, if you removed the title of this section, "can the modes be mixed", my sentence with the "them" wouldn't make sense. But that's something I see as an unlikely edit. Besides, if you changed the title, then I'd reword or remove my response. No big deal.

 * It's not actually a heading, just bold text. Unlikely edit? It might, for example, be changed to read Problems with mixed mode (which I have elsewhere called.... and although I agree it's no big deal, it would lead IMO to a document that reads badly. The solution IMO is to refactor the whole conversation, not just your own comments, whenever refactoring a thread mode discussion. But that would be premature here IMO.

There really aren't any "rules", except perhaps that the person signing a comment should have the last word on what gets contained in that comment. What are the advantages of changing your post after it's been replied to? The biggest one is space savings, which is more than just a measure of Kb. It means people don't have to dig as deep to understand one's point of view.

 * I think there are rules, as demonstrated above. Rules aren't just written policy. They are anything that people respect in order to make the community work. Many of the rules you've been breaking and threatening to break aren't written down.

 * As for not having to dig so deep, that's a very one-sided benefit. They don't need to dig so deep to understand your own comments, true, but to understand everyone else's they now need to consult the page history. That's until and unless the people who have replied update their replies. These updates would not have been needed at all if you had kept the rules of thread mode. And even when this has been done, it's still a bit of guesswork as to whether it has been done or not, unless some extra rules are agreed and followed by all of us.

 * So, in order to understand both sides of the conversation (in semi-threaded or mixed mode) what needs to be consulted is not just the page itself, but the history as well. And that's not a space saving at all, just the opposite, it means that much more time must be expended, and many more bytes retrieved, than would be necessary in thread mode.

 * That's why semi-threaded mode annoys people. By breaking the rules of thread mode, you grab an advantage for yourself, to everyone else's disadvantage. Your unthreaded arguments stand on their own. Everyone else's threaded arguments, if they refer to yours, risk being rendered nonsensical from time to time unless the reader consults the page history.

 * I can think of three possible responses the rest of us can make to this. One is just to ignore your posts. That's one possibility I have seriously suggested in my own thread mode warning. I've done that because I fear that your activities have been discouraging others from contributing at all, and I want them to feel free to ignore you if they wish to. It hasn't been necessary recently, because despite your warning you have been keeping to the rules of thread mode recently, at least in the places I've noticed. And this is progress.

 * A second is that we can all abandon thread mode for document mode, but then as I think has been agreed we all lose the advantages of being able to make shorter replies.

 * Or lastly, the rest of us can continue to keep the rules, and then we have what I've called semi-threaded mode. What it means is that you break the rules while everyone else keeps them. The result of this is that you are then able to enjoy all the advantages of both thread and document mode, while everyone else loses them in part. Quite bluntly, this means that you are then not pulling your weight. Can you see why that annoys us? Andrewa 20:54, 4 May 2004 (UTC)

 * No, I can't. I also don't think that "to understand everyone else's comments, readers now need to consult the page history."  And as my only two choices for this conversation seem to be completely threaded and completely unthreaded, I think I'm going to stop my discussion on this page. anthony (see warning) 22:14, 4 May 2004 (UTC)

 * I don't know what you mean by completely unthreaded. If the suggested rules are too restrictive, all you need to do is to say which of them you find unhelpful. They were designed specifically to accomodate you. If by completely unthreaded you mean document mode, that wasn't the intention at all.

 * If it's what we ended up with, then my conclusion is that unthreaded modes short of document mode don't work. Basically what you seem to want is a mode in which others preserve threads for you to use but you don't return the favour for them. If you can't understand why that would be annoying, then think harder is my suggestion.

 * But thank you for an interesting conversation. I agree a break soon would be good.

 * Let me make it explicit that I accept that you have the best interests of Wikipedia at heart, and that IMO you have great ability and perception. IMO your unusual beliefs make you a dissenter, as distinct from a troll who doesn't have Wikipedia's interests at heart. As such I think you are a very valuable stimulus and contributor. I have no problem with your ideas other than thinking they are misguided in certain respects. And I have learned a great deal. Feel free to resume the conversation whenever you feel inclined. Andrewa 07:10, 5 May 2004 (UTC)

Does unthreaded mode work? (unthreaded)

 * I have a problem with the rule "Don't use devices, such as indenting, which might mislead those unfamiliar with unthreaded mode discussion."

Indenting. One of the rules I have suggested is Don't use devices, such as indenting, which might mislead those unfamiliar with unthreaded mode discussion. This has been criticised, but on what grounds I am at the date of writing unsure. Andrewa 17:06, 5 May 2004 (UTC)

 * "If it's what we ended up with, then my conclusion is that unthreaded modes short of document mode don't work." Well, the only reason that's what we ended up with was because I thought that was part of the rules.

 * "Basically what you seem to want is a mode in which others preserve threads for you to use but you don't return the favour for them." No, what I want is a mode where each person does whatever he wants, however he thinks will best get his point across to others reading the page, without changing other people's signed comments.  What that means, at least, how it works best, is if you've got a short question or comment, you just add it, in "thread mode".  Then, when your question has been answered or your point addresses, you can remove it.  If your differences are more fundamental in nature, you probably want to separate them completely from any thread and post them on their own.  You might want to make limited references to save time, if you think the original won't change, but generally you should make your point directly.

This is getting interesting. We'll see. You might like to also look at this external link for some live discussion running parallel to this. Interesting that they have a document mode section, and a separate thread mode section. They also have a long-standing rule that uses a horizontal line to make it clear which is which.

 * In any case, I've been thinking about this more, and maybe a better solution, when someone responds to me using thread mode, is to continue the thread, perhaps saying "yeah, you're right, I've updated my original comment to reflect this" or "no, I think you misunderstood me, I've changed my original comment to reflect this misunderstanding so others don't make the same mistake" and then changing the original statement also. But I also might remove my comments completely, when I no longer feel like participating in a discussion.  At that point I guess I could put [comment removed] or something, but it's usually obvious.  I haven't decided yet whether or not to do this, but it's an idea.

 * anthony (see warning)

It's an interesting idea IMO, but it's still simplistic compared to the attempts at mixed mode occurring elsewhere, which all seem to end up recognising a need to keep the modes separate. Andrewa 17:06, 5 May 2004 (UTC)

Introduction
This is an unthreaded discussion. In joining in, you accept the rules of unthreaded discussion, see the link above, but also note that these are rather fluid at this stage. These unthreaded sections have the dual objective of discussing these rules and trying them out in practice. Andrewa 17:11, 5 May 2004 (UTC)

Can these specific rules work? When are they helpful?
This is an unthreaded discussion. Another thing we might discuss here is whether these rules can actually work. I think they can, in fact I think that Anthony has provided an excellent example at Talk:Drug addiction, which he himself initiated. But on this page I notice that he has created separate sections for these unthreaded discussions, and respected the normal rules of threaded discussion in the sections that are threaded. Both discussions have worked well alongside each other there, and seem to complement each other. Anyway, unless someone joins in who wants to dispute that they can work, perhaps a better thing to discuss here would be how do you decide which mode to use for a particular discussion. Most people seem to find threaded mode works well for discussion forums such as the Village Pump, for example, and there seems little inclination to change it there despite Anthony's campaign. And, as noted above, Anthony himself uses it alongside unthreaded mode discussion at Talk:Drug addiction. Another approach to answering this question is explored in what does unthreaded mean? below. Another topic is can you successfully mix the modes. I've said you can't, and I think we have an excellent example at user talk:andrewa/archive2 of a failed attempt to do so. Andrewa 20:36, 29 Apr 2004 (UTC)

I have no campaign. I've always assumed it was perfectly fine to change my own post after writing it. However, some people took offense to this, so I changed my signature to "(this comment is a work in progress and may change without prior notice)". People then complained that was too long, so User:Anthony_DiPierro/warning was born.

Yes, thread mode works well for the Village Pump. But unthreaded (or semi-threaded, as you seem to call it) would work even better. I used thread mode in Talk:Drug addiction, but quickly switched to unthreaded as the conversation was getting nowhere. After switching, the issue was quickly solved.

I'm sure there's an example of a situation where a purely threaded discussion works best. But frankly, I can't think of one.

Can the modes be mixed? Absolutely, but you need to use common sense when doing so. In general, a modified comment should not contain responses nested two or more deep beyond it. Also, an obsoleted response should be removed as soon as possible. With cooperation, this could be done by the person making the response obsolete, but this requires either cooperation or some sort of technical assistance beyond that currently offered by Wikipedia.

anthony (see warning)

Can the modes be mixed? There are two problems with mixing them, which I have elsewhere called semi-threaded mode. Firstly, if one user (typically Anthony) modifies their comments within a thread where others are assuming thread mode, the result is a mess. Secondly, if the other participants heed Anthony's warning and restrict themselves to making comments that don't depend for their sense on his text remaining unchanged, the result is that they need to be far more verbose in their replies, and may give up entirely. Either way, there's every chance that the conversation is destroyed, with Anthony getting the last word. That's not good. Andrewa 18:38, 28 Apr 2004 (UTC)

I actually think it's absolutely necessary to mix them. Short questions or comments don't work well in strictly unthreaded mode.

I've got an idea to possibly address what seems like your biggest concern. Whenever I modify a signed post after it has been replied to, I'll add [comment modified after response] right after the sig.

Yes, if you removed the title of this section, "can the modes be mixed", my sentence with the "them" wouldn't make sense. But that's something I see as an unlikely edit. Besides, if you changed the title, then I'd reword or remove my response. No big deal.

There really aren't any "rules", except perhaps that the person signing a comment should have the last word on what gets contained in that comment. What are the advantages of changing your post after it's been replied to? The biggest one is space savings, which is more than just a measure of Kb. It means people don't have to dig as deep to understand one's point of view.

anthony (see warning)

I think we're on the verge of a breakthrough here.

Anthony said ''I actually think it's absolutely necessary to mix them. Short questions or comments don't work well in strictly unthreaded mode. (And if any further proof of his second point was needed, this is it. In thread mode, I wouldn't need to quote him like I have here. But in this mode I do need to. Similarly, if I were to change my comment above with no consideration of his subsequent post, then what he means here by them'' might become a real puzzle.)

Strictly unthreaded mode seems to mean or at least include document mode. Assuming this, I think we have consensus on Anthony's second sentence. The only question is, what is the alternative?

I and MeatBall propose thread mode for this. Anthony, on the other hand, proposes a mixed mode, and has also proposed some rules for it above, which he calls commonsense. These rules don't include the rule that a comment shouldn't be modified if this affects the sense of later comments. If they did then essentially we'd be back to thread mode.

They seem far more complicated than the rules of thread mode, and rely on either cooperation or some sort of technical assistance beyond that currently offered by Wikipedia. I have two questions. The first is, what are the additional benefits of these rules? The second is, can they even deliver the benefits of thread mode?

IMO the answer to the second question is no. You can't provide a quick answer in the manner of thread mode unless you can assume that the thread will be preserved through later edits, whether by technical means or by cooperation. And if you can assume this, then it's a form of thread mode.

I think the onus is on Anthony to show that his rules for mixed mode can deliver similar benefits, and also to state and demonstrate any additional benefits they offer. Andrewa 02:58, 30 Apr 2004 (UTC)

Is this an appropiate use of Wikipedia? I think so, if and only if the goal is to enhance the processes that ultimately lead to building a better encyclopedia. By this I mean Anthony's campaign to get unthreaded mode accepted on places such as the Pump, and my response to it of which this is part. He objects to the word campaign, but he does seem to consistently advocate this cause in the face of considerable predictable opposition, so I don't know what else to call it. Not all would agree that Wikipedia can possibly benefit from this, so we should be a bit careful. Some might even accuse me of feeding a troll. I don't think I am, obviously. Andrewa 18:38, 28 Apr 2004 (UTC)

Would unthreaded work better on the Village Pump? The way to test this is to try it. I now have some experience in using this mode for informal discussion. I think I'm getting the hang of it, but I'm still learning more with each post. IMO we'll soon be ready to try this on the Pump. I'm game! But on reflection perhaps the first wider test should be on the Meta. See thread mode experiment. Andrewa 20:10, 29 Apr 2004 (UTC)

Thread mode (proposed test entry in the Pump)
Moved to thread mode experiment

What does unthreaded mean?
Unthreaded conversations are ones in which the threads are not preserved. Meatball claims that document mode is superior to thread mode in general, but notes that for some purposes such as informal discussion thread mode is superior. When the threads of a discussion are disrupted without the consistent refactoring that would create a good document, the result is an undecipherable mess. I'm using the term unthreaded to mean any discussion that is not in thread mode, including document mode discussions, messes, and anything in between. Of course, in a sense all discussion in a Wiki is threaded, as a full history is kept. The question is just one of the organisation of the information. Specifically, is preserving the threads in the page itself sufficiently helpful to readers and potential contributors to balance the increased length and complexity of the page that results? Andrewa 06:29, 29 Apr 2004 (UTC)

Some defend their right to make these messes, but this is a red herring. This right is not disputed. The question is more of the responsibility all contributors have to clarify rather than to confuse. Any update that destroys a thread needs to take account of the effect this has on the sense of other parts of the page. If it doesn't the result is confusing. Andrewa 18:49, 27 Apr 2004 (UTC)

This is actually a good question, but perhaps it is best solved by simply not using the word "unthreaded". For example, what if I want to ask a simple question with respect to someone's statement? Does that question make the discussion threaded? What if it's indented and put right after the statement? What if the answer is put in the statement itself? Does that revert it back to unthreaded? What if the question is subsequently deleted? Now is it unthreaded?

To me, the question isn't one of threaded vs. unthreaded. It's more a question of whether or not people are allowed, even expected, to modify their original statements.

anthony (see warning)

Unthreaded may well work, but indented & bulleted rocks, cf.Talk:Rail transport in the United Kingdom/Alternate naming schemes. YMMV. --Tagishsimon

Format
I've removed the horizontal lines. I think they were distracting. I'll try headings instead. But, see this external site for extensive use of horizontal lines to clarify mixed threaded and document mode pages (and lots more discussion as well). Andrewa 00:00, 6 May 2004 (UTC)

Re: Intelligent machines
Yes I certainly added the to the article and I remember listing it there. I however did not remove the listing from vfd and finding out who that was will take me some time. I suggest finding out who delisted it from vfd then go from there. -- Graham :) | Talk 14:27, 24 Apr 2004 (UTC)

 * See : the listing was removed by User:Sj who appeared to think that as the page had been altered somewhat the debate concerning it was obscelete. I suggest taking the issue up with him. -- Graham  :) | Talk 15:01, 24 Apr 2004 (UTC)

Philosophy
Hello, I am Soilguy. I believe you have called the famous Reverse Time Ideology as undergraduate stuff?!?!?! Where have you been? My entry, I must admit, is very elementary because it was written in that way, not because the theory is childish. In fact, if you actually do some REAL research into the philosphy of time, you'll find that this is one of the most profound theories regarding the subject. I will be writing a newer and more complete article on the theory soon under Reverse Time Ideology, and expect that you will not verbally discourage me and my colleagues. Soilguy5 15:59, 13 May 2004 (UTC)

 * You are mistaken. I called my contribution undergraduate stuff. I certainly didn't call yours undergraduate level. If it had been up to this standard, I wouldn't have felt such an urgent need to refactor it. I'm sorry if that's blunt.

 * I'm sorry if my commments were discouraging. Now, may I ask where you have been? And did they really regard Do not bother validating this article, for whoever writes anything about this will die within seven days (i dont wanna die!!) and their publication gets deleted by a mystical force!!!, which you wrote in your earlier article, as undergraduate level? IMO it would receive a fail in any tertiary institution in which I have studied or taught.

 * I'm listing your new article on cleanup. We'll see what others think of it. It is certainly an improvement on your earlier style, but I still have reservations. As to the theory, see my comments on that page. Andrewa 17:09, 13 May 2004 (UTC)

 * Andrewaos, I deeply regret the misunderstanding. My shallow research level was not comprehensive enough for a good encyclopedia article; PS: I will be working to improve the article. Yet it can be argued that the article itself is worth at least a place that is respected. Mr. Andracos, your help will be greatly appreciated in the writing of this article. Greatly appreciated, The ONE and ONLY SOILGUY 16:42, 14 May 2004 (UTC)

Deletion policy
I've been noticing a number of places in VfD that you've been making comments about deletion being, in some way, not compatible with the GFDL. Am I understanding you correctly, and if so, is there anywhere your reasoning is set down? —Morven 02:18, 18 May 2004 (UTC)

 * What isn't compatible with the way Wikipedia complies with the GFDL is to keep the content while deleting the records of its authorship. So, for example, merge and delete is not an acceptable vote, and this is documented at Deletion_policy in the following words: Note that merge into article and delete is not a valid option (except for public domain text) because it destroys the information on authorship of the content. There may be other ways that deletion could compromise the GFDL, but this is by far the most common mistake. Does that help? Andrewa 04:11, 18 May 2004 (UTC)

 * Yes, it does. I note that adding the factual information somewhere else, rather than merging copyrighted text, is OK, though.  In general, it's just safest to leave the redirect and thus the authorship info, though. —Morven 08:00, 18 May 2004 (UTC)

 * Yes, exactly. Information can't be copyrighted. Text can be. Some lists can be, others can't. But normally MWOT is achieved by simply preserving the history of anything that's kept. Andrewa 14:15, 18 May 2004 (UTC)

title: User talk:Andrewa/archive3


text:
William B. Davis

William Bruce Davis (born January 13, 1938) is a Canadian actor, best known for his role as the Cigarette Smoking Man on The X-Files. Besides appearing in many TV programs and movies, he founded his own acting school, the William Davis Centre for Actors Study. In his personal life, he is an avid water-skier, lectures on skepticism at events such as the Committee for Skeptical Inquiry's CSICon, and advocates for action on climate change. In 2011 he published his memoir, Where There's Smoke ... The Musings of a Cigarette Smoking Man.

Early life and education
Davis was born in Toronto to a lawyer father and psychologist mother. In 1949, he began his acting career as a child, in radio drama and summer stock theatre. His cousins Murray and Donald Davis ran the Straw Hat Players in Ontario in the late 1940s and early 1950s, and rehearsed in the basement of Davis's house. When they needed a boy, they gave William his first professional acting job. He subsequently became a boy actor on Canadian Broadcasting Corporation (CBC) radio before his voice broke.

In 1955 he enrolled at the University of Toronto to study philosophy, but actively pursued an acting career, as did his friend Donald Sutherland. In 1959, he graduated from the University of Toronto with a Bachelor of Arts degree in philosophy. While at university he switched his attention from acting to directing and with his partner, Karl Jaffary, ran the Straw Hat Players for four years.

Career
In 1960, Davis went to England to train at the London Academy of Music and Dramatic Art. He worked in the UK for the next five years directing in repertory theatres and acting schools. He was artistic director of the Dundee Repertory Theatre. His last position in the UK was as an assistant director at the National Theatre of Great Britain under Laurence Olivier where he worked with Albert Finney, Maggie Smith, Derek Jacobi, and Ronald Pickup among others.

In 1965, he returned to Canada to work at the National Theatre School of Canada. At the age of 28, was appointed artistic director of the English acting section. During this period he was also active as a freelance director at major Canadian theatres. In 1971, he joined the newly formed drama department at Bishop's University in Lennoxvile, Quebec. While there he became the founding artistic director of Festival Lennoxville, a professional summer theatre that ran for the next decade.

Returning to Toronto in the late seventies, Davis spent several years as a radio drama director and on the faculty of Humber College. In demand as an acting teacher during this period, he resumed acting after an absence of nearly 20 years. He earned a number of roles on stage and film before accepting the position of artistic director of the Vancouver Playhouse Acting School, which required relocating with his wife and family. Davis writes in his memoir, "And so, in the fall of 1985, we hitched our second hand boat to our second hand car and drove across the country."

While his time at the Vancouver Playhouse was short-lived, he remained in Vancouver, where he founded his own acting school, the William Davis Centre for Actors Study, a training ground for several future stars including New Zealand actress Lucy Lawless. Acting roles became more frequent, leading up to his iconic role as the Cigarette Smoking Man, also called the "Cancer Man", on the hit TV series The X-Files, where he made frequent appearances for the next nine years. Davis has also had a wide range of roles in other series, including Stargate SG-1 and Smallville, and has participated in a host of television movies and other projects. From time to time he attends fan conventions, signing autographs and copies of his memoir.

In recent years Davis has returned to directing theatre and film. He wrote and directed three short films, and co-wrote and directed several episodes of a television series for CBC Television, 49th & Main. In 2011, he directed two plays for The United Players of Vancouver: Waste by Harley Granville Barker, and Hay Fever by Noël Coward. Most recently he directed The Habit of Art (2013) by Alan Bennett, Sherlock Holmes and the Case of the Jersey Lily (2015) by Katie Forgette, and Robert Bolt's A Man for All Seasons at the Jericho Arts Centre in Vancouver, British Columbia.

During that period, he appeared in 10 episodes of the Canadian hit show Continuum as Older Alec Sadler on Showcase. Most recently, he reprised his iconic X-Files role in the six-episode Season 10.[17]

Personal life
Despite being known for his smoking character, Davis quit smoking in the 1970s. When The X-Files started, he was given a choice between herbal cigarettes and tobacco cigarettes. At first he chose to use tobacco, but switched to herbal because he feared becoming addicted to them again. He used his notoriety on the show to assist the Canadian Cancer Society in its programs to combat smoking.

In 2014, he donated his investments that supported fossil fuels to the David Suzuki Foundation, in an effort to both ethically invest, and help fund work to fight climate change. He is a passionate advocate for action in response to climate change, believing it a critical issue of our time and speaking on the subject often. Taking action on a personal level, he drives a Tesla powered by hydroelectricity.

He is a former national champion water skier and for a time held records in older age divisions. In a 2008 conversation with Brendan Beiser, he said he held the record for tricks in his age category, adding: "I did hold the slalom record until this past year until some young whippersnapper of 65 from Ontario took the record away from me."

In 2011, Davis married Emmanuelle Herpin. He has two daughters, Melinda and Rebecca, from an earlier marriage, and two grandchildren.

Skepticism
While on The X-Files, Davis was constantly challenged by fans of the show about his non-belief in the paranormal and aliens. Davis credits Barry Beyerstein and the Committee for Skeptical Inquiry (CSI) for introducing him to the skeptic community. Davis became increasingly involved in the skeptic movement and began to give lectures as a skeptic spokesman at universities across North America and at skeptic conventions, including CSI's CSICon in New Orleans.

When asked about his belief in the paranormal at the London Film and Comic Con in 2010, Davis replied, "The onus is on you to prove the extraordinary ... I did a lot of research and saw where a lot of the arguments were wanting."

Interviewed by Jacob Fortin on guilt about being a sceptic, yet acting in a show that Richard Dawkins campaigned against, Davis replied that at first he had some trepidation until realizing that Dawkins "had no evidence whatsoever and presented none" that the show encouraged people to think uncritically. "The show is fiction ... it isn't a documentary." In another interview with Justin Trottier of the Centre for Inquiry Canada, Davis answered similarly, adding that from his own informal polls of audiences of X-Files fans, it seemed there was no greater belief in the paranormal than the normal population, and he comforted himself with this thought.

Asked about a debate Davis moderated with alien abduction believer John E. Mack, Davis said that many people expected him to support Mack, but they discovered that he was "way on the other side". Davis recounted that he had some great discussions with Mack; "He was brilliant ... he was wrong, but he was very good ... One of the problems with human intelligence is that we are so good at defending ideas that we arrived at irrationally."

In 2002, Davis narrated a Discovery Science Channel docuseries, The Critical Eye. Produced in association with Skeptical Inquirer magazine, the series examined pseudoscientific and paranormal phenomena.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: William B. Davis


text:
Sengaku-ji

Sengaku-ji (泉岳寺) is a Buddhist temple belonging to the Sōtō school of Japanese Zen located in the Takanawa neighborhood of Minato-ku, near Sengakuji Station and Shinagawa Station, Tokyo, Japan. It was one of the three major Sōtō temples in Edo during the Tokugawa shogunate, and became famous through its connection with the Akō incident of the forty-seven Rōnin in the 18th century.

History
Sengaku-ji was founded as a small chapel by Tokugawa Ieyasu in 1612 and was initially located in Sotosakura, near modern Kasumigaseki. After it was destroyed in the Kan'ei Fire of 1641, Shōgun Tokugawa Iemitsu ordered the five daimyō clans of Mori, Asano, Kutsuki, Niwa and Mizutani to rebuild the temple at its present location in Takanawa, but on a much larger scale.

As this temple became the Edo bodaiji for the Asano clan, after the seppuku Asano Takumi-no-Kami Naganori for having broken protocol and drawing a sword in the Edo Castle, his funeral and tomb were located here. In 1702, the forty-seven Rōnin led by Ōishi Kuranosuke avenged his death and assassinated Kira Kōzuke-no-suke Yoshinaka. After parading Kira's severed head through Edo, they washed it at a well at the temple and presented it on the altar in front of Asano's tomb. They then surrendered to the authorities and were subsequently ordered by the Shōgun to commit seppuku. Their tombs were built at Sengaku-ji next to that of their master. This story became famous through the Kabuki epic Chūshingura and their graves became a popular site of pilgrimage. The graves of Asano Naganori and of the "47 Rōnin" were designated a National Historic Site in 1922 Each year on December 14, the temple holds a festival commemorating the 47 Rōnin. The temple maintains a museum displaying the personal belongings of the 47 Rōnin and displays on the events of the Akō incident.

The temple also has the graves of Asano Naganori's widow, Yozen-in (1674-1714) and his younger Asano Nagahiro (1670-1734) who was allowed by the Shogunate to re-establish the Asano clan as a hatamoto. With regards to the graves of the "47 Rōnin", there are actually 48 graves, as the grave of Kayano Shigezane (also known as "Sanpei") is included in their number. Kayano was one of the Asano ronin, but committed suicide before the vendetta took place.

title: Sengaku-ji


text:
Howard R. Garis

Howard Roger Garis (April 25, 1873 – November 6, 1962) was an American author, best known for a series of books that featured the character of Uncle Wiggily Longears, an engaging elderly rabbit. Many of his books were illustrated by Lansing Campbell. Garis and his wife, Lilian Garis, were possibly the most prolific children's authors of the early 20th century.

Biography
Garis was born in Binghamton, New York. He and his spouse Lilian Garis both worked as reporters for the Newark Evening News. He did some work on the side for WNJR also in Newark.

Uncle Wiggily
The first Uncle Wiggily story appeared January 10, 1910, in the Newark News. For almost four decades the newspaper published an Uncle Wiggily story by Garis every day except Sunday, and the series was eventually nationally syndicated. By the time Garis retired from the newspaper in 1947, he had written more than 11,000 Uncle Wiggily stories.

In 1916 Milton Bradley began selling the Uncle Wiggily Game. In 1987 Parker Brothers bought the rights to the board game and produced it for many years. As of 2018 Winning Moves was manufacturing the Uncle Wiggily Game.

Stratemeyer Syndicate
Garis wrote many books for the Stratemeyer Syndicate under various pseudonyms. As Victor Appleton, he wrote about the enterprising Tom Swift; as Laura Lee Hope, he is generally credited with writing volumes 4–28 and 41 of the Bobbsey Twins; as Clarence Young, the Motor Boys series; as Lester Chadwick, the Baseball Joe series; and as Marion Davidson, a number of books including several featuring the Camp Fire Girls. The couple's children also wrote for Stratemeyer.

After Edward Stratemeyer's death in May 1930, his two daughters, Harriet Stratemeyer Adams (1892–1982) and Edna C. Squier (1895–1974), ran the company, with the result that Garis stopped writing for the Syndicate in 1933 after several disagreements.

Death
Garis moved to Amherst, Massachusetts in 1950, and died there in 1962.

Biographies
Garis' son, Roger Garis, penned a biography of the writing Garis family My Father Was Uncle Wiggily (McGraw-Hill, 1966), as well as writing several books under his own name and pseudonyms, including a four-volume series of children's adventures/mysteries for A. L. Burt. His daughter, Cleo F. also wrote a three-volume series of children's mysteries, published by A. L. Burt. His granddaughter, Leslie Garis, wrote a more revealing Garis family memoir, The House of Happy Endings (Farrar, Straus and Giroux, 2007).

Titles written under Garis's name

 * With Force and Arms, J. S. Ogilvie Publishing Company, 1902
 * The King of Unadilla, J. S. Ogilvie Publishing Company, 1903
 * The White Crystals, Little, Brown and Company, 1904
 * Isle of Black Fire, J. B. Lippincott Company, 1904
 * Tam of the Fire Cave, D. Appleton and Company, 1927
 * Tuftoo the Clown, D. Appleton and Company, 1928
 * Chad of Knob Hill, Little, Brown and Company, 1929

Mystery Boys series
Written under Howard R. Garis, and published by Bradley
 * 1) Mystery Boys in Ghost Canyon, 1930
 * 2) Mystery Boys at Round Lake, 1931

The Daddy series (selected)

 * 1) Daddy Takes Us Camping, 1914
 * 2) Daddy Takes Us Fishing, 1914
 * 3) Daddy Takes Us to the Circus, 1914
 * 4) Daddy Takes Us Skating, 1914
 * 5) Daddy Takes Us Coasting, 1914
 * 6) Daddy Takes Us to the Farm, 1918 (?)
 * 7) Daddy Takes Us to the Garden, 1914
 * 8) Daddy Takes Us Hunting Flowers, 1915
 * 9) Daddy Takes Us Hunting Birds, 1916
 * 10) Daddy Takes Us to the Woods, 1917

The Baseball Joe Series
Written under the pen name Lester Chadwick
 * 1) Baseball Joe of the Silver Stars
 * 2) Baseball Joe on the School Nine
 * 3) Baseball Joe at Yale
 * 4) Baseball Joe in the Central League
 * 5) Baseball Joe in the Big League
 * 6) Baseball Joe on the Giants
 * 7) Baseball Joe in the World Series
 * 8) Baseball Joe Around the World
 * 9) Baseball Joe: Home Run King
 * 10) Baseball Joe Saving the League
 * 11) Baseball Joe Captain of the Team
 * 12) Baseball Joe Champion of the League
 * 13) Baseball Joe Club Owner
 * 14) Baseball Joe Pitching Wizard

Two Wild Cherries series / The Dick and Janet Cherry Series
Originally released as Two Wild Cherries; re-released as The Dick and Janet Cherry series; as Howard R. Garis
 * 1) Two Wild Cherries; or, How Dick and Janet Lost Something
 * 2) Two Wild Cherries In The Country; or, How Dick and Janet Saved The Mill
 * 3) Two Wild Cherries At The Seashore; or, How Dick and Janet Were Shipwrecked
 * 4) Two Wild Cherries in the Woods; or, How Dick and Janet Caught the Bear

(This series later released under alternative titles by McLoughlin, and book order changed)

Rick and Ruddy series
as Howard R. Garis
 * 1) Rick and Ruddy, 1920
 * 2) Rick and Ruddy in Camp, 1921
 * 3) Rick and Ruddy Afloat, 1922
 * 4) Rick and Ruddy Out West, 1923
 * 5) Rick and Ruddy on the Trail, 1924

(This series later released under alternative titles by McLoughlin)

Those Smith Boys series
as Howard R. Garis

 * 1) Those Smith Boys, 1910
 * 2) Those Smith Boys on the Diamond, 1912

The Venture Boys series
as Howard R. Garis
 * 1) The Venture Boys Afloat, 1917
 * 2) The Venture Boys in Camp, 1918

Larry Dexter Series
as by Howard R. Garis

 * 1) From Office Boy to Reporter 1907
 * 2) Larry Dexter, Reporter, 1907
 * 3) Larry Dexter's Great Search, 1909
 * 4) Larry Dexter and the Bank Mystery, 1912
 * 5) Larry Dexter and the Stolen Boy, 1912
 * 6) Larry Dexter in Belgium, 1915
 * 7) Larry Dexter and the Ward Diamonds, 1927
 * 8) Larry Dexter's Great Chase, 1927

Volumes 1 and 2 initially published by Chatterton-Peck. Volumes 1 through 6 issued by Grosset & Dunlap. Volumes 6 and 7 issued by Garden City Publishing (in paperback only)

Volume 1 through 6 retitled and issued by George Sully as the Young Reporter Series circa 1918.
 * 1) The Young Reporter at the Big Flood
 * 2) The Young Reporter and the Land Swindlers
 * 3) The Young Reporter and the Missing Millionaire
 * 4) The Young Reporter and the Bank Mystery
 * 5) The Young Reporter and the Stolen Boy
 * 6) The Young Reporter at the Battle Front

Three Little Trippertrots series
as Howard R. Garis. Published by Graham & Matlack, New York. Compilations of stories originally read over the New Jersey Telephone Herald entertainment service.

 * 1) Three Little Trippertrots, 1912
 * 2) Three Little Trippertrots And Their Travels, 1912

Tom Cardiff series
as Howard R. Garis

 * 1) Tom Cardiff's Circus (1926) (reprinted in USSR as Том Кардиф в Цирке) (1930)
 * 2) Tom Cardiff in the Big Top (1927)

Circus Animal stories
Published by R. F. Fenno
 * 1) Snarlie the Tiger, 1916
 * 2) Woo-Uff The Lion, 1917
 * 3) Umboo the Elephant, 1918

Bed Time series
This series of children's books was written by Garis beginning in 1910. Each volume contains 31 stories, one for each day of the month:
 * 1) Sammie and Susie Littletail
 * 2) Johnny and Billy Bushytail
 * 3) Lulu, Alice & Jimmie Wibble-Wobble
 * 4) Jackie and Peetie Bow-Wow
 * 5) Buddy and Brighteyes Pigg
 * 6) Joie, Tommie and Kittie Kat
 * 7) Charlie and Arabella Chick
 * 8) Neddie and Beckie Stubtail
 * 9) Bully and Bawly No-Tail
 * 10) Nannie and Billie Wagtail
 * 11) Jollie and Jillie Longtail
 * 12) Jacko and Jumpo Kinkytail
 * 13) Curly and Floppy Twistytail
 * 14) Toodle and Noodle Flat-Tail
 * 15) Dottie and Willie Flufftail
 * 16) Dickie and Nellie Fliptail
 * 17) Woodie and Waddie Chuck
 * 18) Bobby and Betty Ringtail

The Curlytops series
as Howard R. Garis; Published by Cupples & Leon, illustrated by Julia Greene
 * 1) At Cherry Farm; or, Vacation Days in the Country, 1918.
 * 2) On Star Island; or, Camping Out with Grandpa, 1918.
 * 3) Snowed In; or, Grand Fun with Skates and Sleds, 1918.
 * 4) At Uncle Frank's Ranch; or, Little Folks on Ponyback, 1918. Cupples & Leon.
 * 5) At Silver Lake; or, On the Water with Uncle Ben, 1920.
 * 6) And Their Pets; or, Uncle Toby's Strange Collection, 1921.
 * 7) And Their Playmates; or, Jolly Times Through the Holidays, 1922.
 * 8) In the Woods; or, Fun at the Lumber Camp, 1923.
 * 9) At Sunset Beach; or, What Was Found in the Sand, 1924.
 * 10) Touring Around; or, The Missing Photograph Album, 1925.
 * 11) In a Summer Camp; or, Animal Joe's Menagerie, 1927.
 * 12) Growing Up; or, Winter Sports and Summer Pleasures, 1928.
 * 13) At Happy House; or, The Mystery of the Chinese Vase, 1931.
 * 14) At the Circus; or, The Runaway Elephant, 1932.

Buddy series
as Howard R. Garis. Cupples & Leon published this series about the adventures of Buddy Martyne with his family and friends:
 * 1)  Buddy on the Farm or, a Boy and his Prize Pumpkin, 1929
 * 2)  Buddy in School, or, a Boy and his Dog, 1929
 * 3)  Buddy and his Winter Fun, or, a Boy in a Snow Camp, 1929
 * 4)  Buddy at Rainbow Lake, or, a Boy and his Boat, 1930
 * 5) Buddy and his Chum, or, a Boy’s Queer Search, 1930
 * 6) Buddy at Pine Beach, or, a Boy on the Ocean, 1931
 * 7) Buddy and his Flying Balloon, or, a Boy’s Mysterious Airship, 1931
 * 8) Buddy on Mystery Mountain or, a Boy’s Strange Discovery, 1932
 * 9) Buddy on Floating Island or, a Boy’s Wonderful Secret, 1933
 * 10) Buddy and the Secret Cave or, a Boy and the Crystal Hermit, 1934
 * 11) Buddy and his Cowboy Pal or, a Boy on a Ranch, 1935
 * 12) Buddy and the Indian Chief or, a Boy among the Navajos, 1936
 * 13) Buddy and the Arrow Club or, a Boy and the Long Bow, 1937
 * 14) Buddy at Lost River or, a Boy and a Gold Mine, 1938
 * 15) Buddy on the Trail or, a Boy Among the Gypsies, 1939
 * 16) Buddy in Deep Valley or, a Boy on a Bee Farm, 1940
 * 17) Buddy at Red Gate or, a Boy on a Chicken Farm, 1941
 * 18) Buddy in Dragon Swamp or, a Boy on a Strange Hunt, 1942,
 * 19) Buddy’s Victory Club or, a Boy and a Salvage Campaign, 1943
 * 20) Buddy and the G-Man Mystery or, a Boy and a Strange Cipher, 1944
 * 21) Buddy and his Fresh Air Camp or, a Boy and the Unlucky Ones, 1947

Rocket Riders series
as Howard R. Garis
 * 1) Rocket Riders Across The Ice or Racing Against Time, 1933
 * 2) Rocket Riders Over the Desert or, Seeking the Lost City, 1933
 * 3) Rocket Riders in Stormy Seas or, Trailing the Treasure Divers, 1933
 * 4) Rocket Riders in The Air or, A Chase in the Clouds, 1934

Teddy series
as Howard R. Garis
 * 1) Teddy and The Mystery Monkey, 1936
 * 2) Teddy and The Mystery Dog, 1936
 * 3) Teddy and The Mystery Cat, 1937
 * 4) Teddy and The Mystery Parrot, 1938
 * 5) Teddy and The Mystery Pony, 1939
 * 6) Teddy and His Mystery Deer, 1940
 * 7) Teddy and His Mystery Goat, 1941

Uncle Wiggily series
as Howard R. Garis
 * 1) Uncle Wiggily's Adventures
 * 2) Uncle Wiggily's Travels
 * 3) Uncle Wiggily's Fortune
 * 4) Uncle Wiggily's Automobile
 * 5) Uncle Wiggily at the Seashore
 * 6) Uncle Wiggily's Airship
 * 7) Uncle Wiggily in the Country
 * 8) Uncle Wiggily in the Woods
 * 9) Uncle Wiggily on the Farm
 * 10) Uncle Wiggily's Journey
 * 11) Uncle Wiggily and Baby Bunty
 * 12) Uncle Wiggily's Story Book
 * 13) Uncle Wiggily's Picture Book
 * 14) Uncle Wiggily's Puzzle Book
 * 15) Uncle Wiggily on Sugar Island
 * 16) The Uncle Wiggily Book
 * 17) Uncle Wiggily's Bungalow
 * 18) Uncle Wiggily's Picnic Party
 * 19) Uncle Wiggily’s Surprises
 * 20) Uncle Wiggily's Happy Days
 * 21) Uncle Wiggily and The Canoe
 * 22) Uncle Wiggily and the Littletails
 * 23) Uncle Wiggily in Wonderland, 1921
 * 24) Uncle Wiggily and Old Mother Hubbard, 1922

Happy Home series
The Happy Home Series is a six-volume series of children's books written by Garis between 1926 and 1927:
 * 1) Adventures of the Galloping Gas Stove
 * 2) Adventures of the Runaway Rocking Chair
 * 3) Adventures of the Traveling Table
 * 4) Adventures of the Sliding Foot Stool
 * 5) Adventures of the Sailing Sofa
 * 6) Adventures of the Prancing Piano

title: Howard R. Garis


text:
Laura Lee Hope

Laura Lee Hope is a pseudonym used by the Stratemeyer Syndicate for the Bobbsey Twins and several other series of children's novels. Actual writers taking up the pen of Laura Lee Hope include Edward Stratemeyer, Howard and Lilian Garis, Elizabeth Ward, Harriet (Stratemeyer) Adams, Andrew E. Svenson, June M. Dunn, Grace Grote and Nancy Axelrad.

Laura Lee Hope was first used as a pseudonym in 1904 for the debut of the Bobbsey Twins.

Series

 * The Bobbsey Twins (1904–1979)
 * The Outdoor Girls (23 vols. 1913–1933)
 * The Moving Picture Girls (7 vols. 1914–1916)
 * Bunny Brown (20 vols. 1916–1931)
 * Six Little Bunkers (14 vols. 1918–1930)
 * Make Believe Stories (12 vols. c. 1920–1923)
 * Blythe Girls (12 vols. 1925–1932)

title: Laura Lee Hope


text:
Hūsker Dū?

Hūsker Dū? is a memory board game that can be played by children and adults, published in the United States in the 1950s. The game is currently published in the United States by Winning Moves Games USA.

Game play
The game board consists of a surface with holes in it, laid on top of a dial that contains several sets of small pictures. The holes are covered by markers at the start of the game, and the dial is rotated to line up one set of positions with the holes. On each turn, a player removes two markers to reveal the pictures underneath. If they do not match, the player replaces the markers and their turn ends. If the pictures do match, the player keeps the two markers and takes another turn. Once the board is cleared, the player holding the most markers is the winner.

Marketing
The American version of the board game was first distributed in the 1950s by the Pressman Toy Corporation. The boxed game proclaimed itself one "in which the child can outwit the adult."

A notorious advertisement for the game that aired during the 1973 Christmas season featured subliminal cuts, with the phrase "Get It." Even though subliminal messages are commonly believed to be ineffective, the FCC received complaints about the ad and issued a public notice calling subliminal advertising "deceptive and contrary to the public interest." The Premium Corporation of America voluntarily removed the commercial from the air, claiming that the subliminal message was inserted by a misguided employee.

Another early ad featured a voiceover by professional-wrestling announcer "Mean Gene" Okerlund.

title: Hūsker Dū?


text:
Black-naped monarch

The black-naped monarch or black-naped blue flycatcher (Hypothymis azurea) is a slim and agile passerine bird belonging to the family of monarch flycatchers found in southern and south-eastern Asia. They are sexually dimorphic, with the male having a distinctive black patch on the back of the head and a narrow black half collar ("necklace"), while the female is duller with olive brown wings and lacking the black markings on the head. They have a call that is similar to that of the Asian paradise flycatcher, and in tropical forest habitats, pairs may join mixed-species foraging flocks. Populations differ slightly in plumage colour and sizes.

Taxonomy
The black-naped monarch was described by the French polymath Georges-Louis Leclerc, Comte de Buffon in 1779 in his Histoire Naturelle des Oiseaux. The bird was also illustrated in a hand-coloured plate engraved by François-Nicolas Martinet in the Planches Enluminées D'Histoire Naturelle which was produced under the supervision of Edme-Louis Daubenton to accompany Buffon's text. Neither the plate caption nor Buffon's description included a scientific name but in 1783 the Dutch naturalist Pieter Boddaert coined the binomial name Muscicapa azurea in his catalogue of the Planches Enluminées. Buffon specified that his specimen had been collected in the Philippines, but in 1939 the American ornithologist James L. Peters restricted the type locality to Manila on the island of Luzon. The black-naped monarch is now placed in the genus Hypothymis was introduced by the German zoologist Friedrich Boie in 1826 with the black-naped monarch as the type species. The genus name is from the Ancient Greek hupothumis, the name of an unidentified bird mentioned by the playwright Aristophanes. The specific epithet azurea is from the Medieval Latin azureus meaning "azure-coloured" or "azure-blue".

Alternate names for the black-naped monarch include black-naped blue monarch and black-naped monarch flycatcher. Some authorities separate two former subspecies, H. a. blasii (Banggai Island) and H. a. puella (Sulawesi), and place them as subspecies of the pale-blue monarch (Hypothymis puella).

Subspecies
Twenty-three subspecies are recognized:
 * H. a. styani – (Hartlaub, 1899) : Originally described as a separate species in the genus Ficedula, found from India and Nepal to southeast China and Vietnam. The abdomen is whitish in males.
 * H. a. oberholseri – Stresemann, 1913 : Found in Taiwan
 * H. a. ceylonensis – Sharpe, 1879 : Originally described as a separate species, found in Sri Lanka. The males lack the black necklace.
 * H. a. tytleri – (Beavan, 1867) : Originally described as a separate species in the genus Myiagra. Found in the Andaman Islands. The abdomen of males is blue.
 * H. a. idiochroa – Oberholser, 1911 : Found on Car Nicobar (northern Nicobar Islands). The abdomen of males is white tinged with blue.
 * H. a. nicobarica – Bianchi, 1907 : Found on southern Nicobar Islands. The abdomen of males is white tinged with blue.
 * H. a. montana – Riley, 1929 : Found in northern and central Thailand
 * H. a. galerita – (Deignan, 1956), 1929 : Found in southwest and southeast Thailand
 * H. a. forrestia – Oberholser, 1911 : Found in Mergui Archipelago (off western Myanmar)
 * H. a. prophata – Oberholser, 1911 : Found on Malay Peninsula, Sumatra and Borneo
 * H. a. javana – Chasen & Kloss, 1929 : Found on Java and Bali (Indonesia)
 * H. a. penidae – Meise, 1942 : Found on Nusa Penida (near Bali in the Lesser Sundas)
 * H. a. karimatensis – Chasen & Kloss, 1932 : Found on Karimata Island (off western Borneo)
 * H. a. opisthocyanea – Oberholser, 1911 : Found on Anambas Islands (in the South China Sea)
 * H. a. gigantoptera – Oberholser, 1911 : Found on Natuna Besar (Natuna Islands, South China Sea)
 * H. a. consobrina – Richmond, 1902 : Originally described as a separate species, found on Simeulue (off north-western Sumatra)
 * H. a. leucophila – Oberholser, 1911 : Found on Siberut (off western Sumatra)
 * H. a. richmondi – Oberholser, 1911 : Found on Enggano Island (off south-western Sumatra)
 * H. a. abbotti – Richmond, 1902 : Originally described as a separate species, found on Reusam and Babi Islands (off north-western Sumatra)
 * H. a. symmixta – Stresemann, 1913 : Found on western and central Lesser Sundas
 * Philippine black-naped monarch (H. a. azurea) – (Boddaert, 1783) : Also known as the black-capped monarch and Philippine black-naped blue monarch. Found in Philippines (except Camiguin Sur Island)
 * H. a. aeria – Bangs & Peters, JL, 1927 : Originally described as a separate species, found on Maratua Island (off eastern Borneo)
 * H. a. catarmanensis – Rand & Rabor, 1969 : Found on Camiguin Sur Island (southern Philippines)

Description
The adult male black-naped monarch is about 16 cm long, and is mainly pale azure blue apart from a whitish lower belly. It has a black nape and a narrow black gorget. The female is duller and lacks the black markings. Its wings and back are grey-brown. However, several geographically separated breeding populations differ in the extent and shade of markings. The Indian peninsula has subspecies H. a. styani (which subsumes H. a. sykesi of Stuart Baker ), in which males have very distinct black markings and a whitish abdomen. Males of the Sri Lankan race H. a. ceylonensis lack the black nape and gorget and the shade is more purplish. The subspecies of the Andaman Islands, H. a. tytleri, has the underparts blue grey. The form on Car Nicobar Island, H. a. idiochroa, has a greyish white belly, while H. a. nicobarica from the southern Nicobars has a smaller and finer bill. The colour of the gape is yellowish to green.

Distribution and habitat
The black-naped monarch breeds across tropical southern Asia from Iran and Sri Lanka east to Indonesia and the Philippines. This species is usually found in thick forests and other well-wooded habitats.

The calls are a sharp and abrupt skrip. The main breeding season in India is in summer from May to July. Two to three eggs are laid in a cup nest placed in the fork of a tree. The nest is decorated with spider-egg cases.

Behaviour and ecology
The black-naped monarch has short legs and sits very upright whilst perched prominently, like a shrike. It is insectivorous, often hunting by flycatching. When alarmed or alert, the nape feathers are raised into a pointed crest. They join mixed-species foraging flocks, being among the most significant members of such flocks in the Western Ghats, and are active in the understory of forest canopies. A study in Sri Lanka showed that they are affected by human disturbance causing them to recede from disturbed edges by about 75 m.

Although they are largely residents, local seasonal movements are known. The breeding season in India is March to August and the nest is a neat cup placed in a fork. The cup is lined with filaments of webbing and fungi including those of the genus Marasmius which are known to produce antibiotics and may benefit the birds by protecting the young from infection. The nest is built by the female while the male guards. The typical clutch is three eggs, which both parents incubate and both feed the young, which hatch after about 12 days.

The webs of large spiders such as Nephila maculata have been known to trap the bird. An astrovirus was detected in a black-naped monarch in Cambodia, a virus that was earlier unknown from passerines. The feather mite Proterothrix hypothymis (Pterodectinae: Protophyllodidae) has been described from black-naped monarchs in Vietnam.

title: Black-naped monarch


text:
Roy Rockwood

Roy Rockwood was a house pseudonym used by Edward Stratemeyer and the Stratemeyer Syndicate for boy's adventure books. The name is most well-remembered for the Bomba the Jungle Boy series.

Series
The following series used the Roy Rockwood pseudonym:
 * Deep Sea (1905–1908; the three books in the series were republished as the first three Dave Fearless books )
 * Dave Fearless (1905–1927)
 * Great Marvel (1906–1935)
 * Speedwell Boys (1913–1915)
 * Dave Dashaway (1913–1915)
 * Bomba, the Jungle Boy (1926–1938)

Edward Stratemeyer used the pseudonym for the serialized story Joe Johnson, the Bicycle Wonder (1895), published in Young Sports of America. He also used Roy Rockwood for Lost in the Land of Ice (1900-1901 – later published as a book under the Capt. Ralph Bonehill pen name) and The Rival Ocean Divers (1901), both serialized in Golden Hours. The Rival Ocean Divers became the first book in the Deep Sea series, and was later used in the Dave Fearless series.

Known authors
The Dave Dashaway series was written by Weldon J. Cobb. Howard R. Garis contributed to the Great Marvel series. In 1926 Leslie McFarlane was hired to write a Dave Fearless novel. John Duffield wrote many of the Bomba, the Jungle Boy novels.

title: Roy Rockwood


text:
Clarence Young

Clarence Young was a house pseudonym used by the Stratemeyer Syndicate for series of books for boys, the most well-known being the "Motor Boys" series.

The following series were published under the name Clarence Young:

 * Jack Ranger—6 volumes (1907–1911)
 * Motor Boys—22 volumes (1906–1924)--The first ten were illustrated by Charles Nuttall—Volumes 1, 2, and 8 ghostwritten by Howard R. Garis
 * Racer Boys—6 volumes (1912–1914)

The pseudonym "Clarence Young" was also used by Edward Stratemeyer for a few football stories published in turn of the century boys magazines.

title: Clarence Young


text: User talk:68.121.208.122

title: User talk:68.121.208.122


text: User talk:66.32.188.70

title: User talk:66.32.188.70


text:
Talk:Olivia Chow

Language Fluency
I believe all Members of Parliament must be fluent in both English and French at least. Can someone confirm she is also fluent in French? I've looked around and can't find anything to officially add that.96.52.225.195 (talk) 01:51, 23 August 2011 (UTC)
 * There is no condition that MPs be French/English bilingual. Many MPs from the western provinces speak only English. EncyclopediaUpdaticus (talk) 01:58, 24 August 2011 (UTC)

Completely untrue - MPs do not need to be bilingual. Many (and not just from the west) do not speak French, and there certainly have been bloc MPs who don't speak English. The House provides simultaneous translation. — Preceding unsigned comment added by 66.183.57.148 (talk) 05:26, 28 August 2011 (UTC)
 * I heard her talking a few days ago in a French speaking event, and I can confirm she doesn't speak French. H4stings (talk) 19:01, 17 July 2023 (UTC)

Olivia Chow
Why are there question marks after Olivia's name? Krupo 00:03, Oct 1, 2004 (UTC)

I think it's supposed to have her name in chinese. I don't even see question marks. I see "" How does one enable chinese characters? Earl Andrew 00:15, 1 Oct 2004 (UTC)

 * This is what I see: "Olivia Chow(鄒至蕙) is a..." I'm using Netscape 7.1. Often, if a page has Chinese text, you'll be advised (at least by Netscape), to download the necessary character set. Not in this case, though. Krupo 05:44, Oct 3, 2004 (UTC)

 * If you use Windows, I think the easiest way to get it is to install Microsoft's Input Method Editor (IME) for the appropriate language. See  for more info.  You could also try downloading the appropriate font.  I believe there are some free Chinese fonts floating around out there called Sim Sun, MS Song, etc.  Arial Unicode MS contains the characters for many different lanaguages and is distributed with lots of Microsoft software. A good place to get more info on fonts, Unicode, etc. is http://www.alanwood.net/unicode/index.html. You can also try playing around with the languages dialog in Windows' control panel.  In Windows XP, there is a dialog in the control panel called "Regional and Language Options", with a checkbox labelled "Install files for East Asian languages". -spencer195 01:22, 4 Oct 2004 (UTC)

Strategic Voting in 2004
I don't think that many voters in Trinity-Spadina actually thought that the Conservatives might win the riding. Anyone familiar with the riding would know how absurd the thought would be. The Conservative candidate ended up with 8.5% or so. It would have taken nearly one thousand such voters for Chow to have won. In any event, it is speculative analysis to suggest so and the current article does so with so-called weasel words.
 * Given the nationwide trend towards strategic voting, it is likely that some voters, though perhaps not enough to make a difference, did "vote strategically." There were people who voted strategically in this election in T-S; I've spoken to two online. Their logic is flawed, but essentially they believe that another Liberal is more likely to oppose the Conservatives/prevent a Conservative government than a New Democrat. -  Cuivienen  ( Return ) 23:00, 27 January 2006 (UTC)
 * Perhaps. But that is extrapolation, which is against WP policy (as a form of original research).  Frankly I think very few did in this riding.  Maybe your guess is better than mine but this is not the place for guesses, even the educated kind.  --JGGardiner 05:34, 28 January 2006 (UTC)

That Big Banner
Can someone please justify why that big banner of Olivia Chow is there? Eihterwhise this banner should be deleted from the entry. Pete Peters 19:38, 10 July 2006 (UTC)
 * Looks a lot like an ad and adds nothing to the article. I think it should be removed. --Grstain 19:45, 10 July 2006 (UTC)

Categories
I really don't think that all these categories are necceasry. LGBT activist? The entry has no mention of that. She may support LGBT issues, but I don't think she has been any activist of such sorts. Cancer survivor? Her thyroid cancer was benign, I am don't think she should be in that category. Pete Peters 14:34, 29 July 2006 (UTC)

 * Although she is obviously very supportive of LGBT rights, I don't know if she has been active in the same way Layton has (e.g. during the bathhouse raids). As for cancer, though, I will have to disagree: she had cancer and she survived it, ergo she is a cancer survivor. - Montréalais 18:11, 20 September 2006 (UTC)

Photo
I've reverted to the free-source photo. According to the template for fair use,

 * "It is believed that the use of this photograph
 * to illustrate the person in question,
 * in the absence of a free alternative,
 * on the English-language Wikipedia, hosted on servers in the United States by the non-profit Wikimedia Foundation,
 * qualifies as fair use under United States copyright law."

Since there is now a free alternative, we should use the free alternative and in fact we may no longer be allowed to use the fair use photo. - Montréalais 13:01, 17 September 2006 (UTC)

 * You are correct per WP:FU section one. The use of non-free images therefore nolonger qualify for fair use and MUST be removed.  YDAM   TALK 12:14, 20 September 2006 (UTC)

Police commission
I changed the text about her leaving the police commission because it left the impression that the problem was simply her comments, when it was the way in which they were made – she tried to interfere in a police operation. I happen to think she was right about the operation, and I believe she  acted because she thought she could keep people from being seriously hurt, but she does appear to have broken the rules and to have accepted that she broke them. Which also speaks well of her. Phrenesiac 15:57, 23 October 2007 (UTC)

Religion
The citation supporting Olivia Chow's affiliation as United Church does not in fact do so. It makes the case for Jack Layton's religion but nowhere mentions her affiliation with the church. I'll take off the citation and request a citation for this. Homagetocatalonia (talk)

So-called housing co-op "controversy"
Regarding this "controversy" about living in co-op housing, I've looked over the cited sources, which discuss the material in a very different light. The sources note first of all that this story is 24 years in the past, that Layton and Chow were cleared of any wrongdoing, that Layton chose to increase the rent paid even before any criticism occurred, and that around the same time the Federation of Metro Tenants Association praised them for choosing to live in co-op housing. Layton characterized it as a "brilliantly executed smear attempt", and the Toronto Star's opinion page recently called it "the smear campaign that wouldn't die". I'm doubtful that the Wikipedia article should have any mention of this manufactured "controversy", but it's plain to me that the unbalanced way in which it was presented is a violation of NPOV and BLP policy. Paul Erik (talk) (contribs) 11:46, 27 March 2014 (UTC)
 * I believe I worded it neutrally. They did live in a government-subsidized co-op. (NB: They lived there from 1985-1990.  They only paid the additional rent for the last few months they lived there.)

It certainly was controversial at the time, and people protested against them. With Chow now running for the Mayor of Toronto, it has come up in the campaign, which explains why an event that happened 24 years ago is relevant today. Finally, although I cited it, the Toronto Star is certainly not a neutral source (their opinion page, moreso); they have a left/centre-left political agenda, which aligns with Chow's.

If Rob Ford's 1999 arrest is relevant to include in his wikipedia article, why should this not be relevant for Olivia Chow?173.230.182.230 (talk) 02:32, 28 March 2014 (UTC)

 * The Star, with the exception of the recent federal election has always supported the Liberal Party. The distorted story was originally introduced as part of a negative campaign by the Liberals and of course picked up by The Star.  TFD (talk) 03:49, 2 April 2014 (UTC)

External links modified
Hello fellow Wikipedians,

I have just added archive links to 1 one external link on Olivia Chow. Please take a moment to review my edit. If necessary, add after the link to keep me from modifying it. Alternatively, you can add to keep me off the page altogether. I made the following changes:
 * Added archive https://web.archive.org/20110429124733/http://www.cbc.ca:80/news/politics/canadavotes2011/ to http://www.cbc.ca/news/politics/canadavotes2011/#/202

When you have finished reviewing my changes, please set the checked parameter below to true to let others know.

Cheers.—cyberbot II  Talk to my owner :Online 00:09, 29 January 2016 (UTC)

School board and municipal politics
This section seems to lack specifics and references for the multiple claims made, when they should be easily citable if they are true. 24.140.237.249 (talk) 20:06, 2 May 2023 (UTC)

Recent edits regarding Council of Newcomer Organizations (June 2023)
IP users have been adding a paragraph on Chow's meeting with the Council of Newcomer Organizations. I've removed it because it is poorly written and unbalanced – vaguely suggesting that Chow is aligned with the Chinese Communist Party, which is not a complete picture considering that the same article notes that Chow "has generally not been a close friend of the Chinese Communist Party" and has been an outspoken advocate over the years for Hong Kong democracy activists and the Tiananmen Square commemorations. The original IP user's editing history is problematic (example) and suggests that this edit is intended as a smear. Ben MacLeod (talk) 17:35, 25 June 2023 (UTC)

Semi-protected edit request on 27 June 2023
olivia chow has been elected mayor of Toronto, and is now Mayor-Elect Olivia Chow Geomcf (talk) 01:06, 27 June 2023 (UTC)
 * Another editor updated the article. RudolfRed (talk) 01:10, 27 June 2023 (UTC)

Semi-protected edit request on 27 June 2023 (2)
Olivia Chow is not a member she is the mayor of Toronto. Please remove her being a member of parliament as she has been elected as mayor. 184.144.41.100 (talk) 01:50, 27 June 2023 (UTC)

 * ✔ The article already states that. If there's a part that hasn't been changed, please post it in a "change X to Y"-format. NotAGenious (talk) 06:43, 27 June 2023 (UTC)

Semi-protected edit request on 1 July 2023
Change "an busway" to "a busway". Phrohlych (talk) 19:33, 1 July 2023 (UTC)
 * ✅ Deauthorized. (talk) 21:06, 1 July 2023 (UTC)

Updated picture
Hi @Rushtheeditor, sorry to have updated the picture with something more recent without discussing it before. It's just that the current portrait is 10 years old, so I looked obvious to me (WP:DOIT, etc.). But I've no problem with that. Do what you think right. H4stings (talk) 19:05, 17 July 2023 (UTC)

 * No problem! I think that an image update is needed too, but only if we have the right one! Thanks! Rushtheeditor (talk) 19:08, 17 July 2023 (UTC)

title: Talk:Olivia Chow


text:
White-throated fantail

The white-throated fantail (Rhipidura albicollis) is a small passerine bird. It is found in forest, scrub and cultivation across tropical southern Asia from the Himalayas, India and Bangladesh east to Indonesia. The white-spotted fantail (R. albogularis) until recently was considered a subspecies.

Description
The adult white-throated fantail is about 19 cm long. It has a dark fan-shaped tail, edged in white, and white supercilium and throat. There is otherwise much variation in plumage between races. Most resemble the Himalayan R. a. canescans, which is primarily slate grey above and below, featuring a black eye mask, and a white throat and eyebrow.

Local names for the bird in India include Nasoni sorai (Assamese).

Behaviour
The white-throated fantail lays three eggs in a small cup nest in a tree. It is insectivorous, and often fans its tail as it moves through the undergrowth.

The eggs are approximately 2 cm in length. They are white in colour, with a band of brown spots around the middle, closer towards the base of the egg.

Birds use the same song year after year, with progressively small changes, with the result that the song sounds very different after 4–5 years. The male's call is a valuable tool in detection and identification of the bird, which can often be confused with the white-browed fantail, R. aureola, where their ranges overlap. R. aureola has light underparts and prominent spots in two rows on the wings.

Subspecies
According to IOC there are 9 recognised subspecies. In alphabetical order, these are:

 * R. a. albicollis (Vieillot, 1818)
 * R. a. atrata Salvadori, 1879
 * R. a. canescens (Koelz, 1939)
 * R. a. celsa Riley, 1929
 * R. a. cinerascens	Delacour, 1927
 * R. a. kinabalu Chasen, 1941
 * R. a. orissae	Ripley, 1955
 * R. a. sarawacensis Chasen, 1941
 * R. a. stanleyi Baker, 1916

title: White-throated fantail


text:
Papier-mâché

Papier-mâché (, ; ; lit. 'chewed paper'), frequently written as paper mache, is a composite material consisting of paper pieces or pulp, sometimes reinforced with textiles, and bound with an adhesive, such as glue, starch, or wallpaper paste.

Papier-mâché sculptures are used as an affordable building material for a variety of traditional and ceremonial activities, as well as in arts and crafts. Many people use this as a form of decorative hobby.

Preparation methods
There are two methods to prepare papier-mâché. The first method makes use of paper strips glued together with adhesive, and the other uses paper pulp obtained by soaking or boiling paper to which glue is then added.

With the first method, a form for support is needed on which to glue the paper strips. With the second method, it is possible to shape the pulp directly inside the desired form. In both methods, reinforcements with wire, chicken wire, lightweight shapes, balloons or textiles may be needed.

The traditional method of making papier-mâché adhesive is to use a mixture of water and flour or other starch, mixed to the consistency of heavy cream. Other adhesives can be used if thinned to a similar texture, such as polyvinyl acetate (PVA) based glues (often sold as wood glue or craft glue). Adding oil of cloves or other preservatives, such as salt, to the mixture reduces the chances of the product developing mold. Methyl cellulose is a naturally mold free adhesive used in a ratio of one part powder to 16 parts hot water and is a popular choice because it is non-toxic, but is not waterproof.

For the paper strips method, the paper is cut or torn into strips, and soaked in the paste until saturated. The saturated pieces are then placed onto the surface and allowed to dry slowly. The strips may be placed on an armature, or skeleton, often of wire mesh over a structural frame, or they can be placed on an object to create a cast. Oil or grease can be used as a release agent if needed. Once dried, the resulting material can be cut, sanded and/or painted, and waterproofed by painting with a suitable water-repelling paint. Before painting any product of papier-mâché, the glue must be fully dried, otherwise mold will form and the product will rot from the inside out.

For the pulp method, the paper is left in water at least overnight to soak, or boiled in abundant water until the paper breaks down to a pulp. The excess water is drained, an adhesive is added and the papier-mâché applied to a form or, especially for smaller or simpler objects, sculpted to shape.

Imperial China
The Chinese during the Han dynasty appeared to be the first to use papier-mâché around 200 CE, not long after they learned how to make paper. They employed the technique to make items such as warrior helmets, mirror cases, or ceremonial masks.

Ancient Egypt
In ancient Egypt, coffins and death masks were often made from cartonnage—layers of papyrus or linen covered with plaster.

Middle and Far East
In Persia, papier-mâché has been used to manufacture small painted boxes, trays, étagères and cases. Japan and China also produced laminated paper articles using papier-mâché. In Japan and India, papier-mâché was used to add decorative elements to armor and shields.

Kashmir
The papier-mâché technique was first adopted in Kashmir in the 14th century by Mir Sayyid Ali Hamadani, a Sufi mystic, who came to Kashmir during the late 14th century along with his followers, many of whom were craftsmen. These craftsmen used hand-made paper pulp from Iran. Kashmir papier-mâché has been used to manufacture boxes (small and big), bowls, trays, étagères, useful and decorative items, models, birds and animals, vases, lights, corporate gifts and lot more. It remains highly marketed in India and Pakistan and is a part of the luxury ornamental handicraft market. The product is protected under the Geographic Indication Act 1999 of Indian government, and was registered by the Controller General of Patents Designs and Trademarks during the period from April 2011 to March 2012 under the title "Kashmir Paper Machie".

Europe

Papier-mâché has been used for doll heads, starting as early as 1540, molded in two parts from a mixture of paper pulp, clay, and plaster, and then glued together, with the head then smoothed, painted and varnished.

In 16th century Germany, papier-mâché was used to create multiple copies of Protestant images, including Martin Luther. The North German sculptor Albert von Soest carved wooden molds which were used to made a plaster cast. This in turn was used to make many copies of the papier-mâché portrait. There is an example in the Danish National Museum.

Starting around 1725 in Europe, gilded papier-mâché began to appear as a low-cost alternative to similarly treated plaster or carved wood in architecture. Henry Clay of Birmingham, England, patented a process for treating laminated sheets of paper with linseed oil to produce waterproof panels in 1772. These sheets were used for building coach-door panels as well as for other structural uses. Theodore Jennens patented a process in 1847 for steaming and pressing these laminated sheets into various shapes, which were then used to manufacture trays, chair backs, and structural panels, usually laid over a wood or metal armature for strength. The papier-mâché was smoothed and lacquered, or given a pearl-shell finish. The industry lasted through the 19th century. Russia had a thriving industry in ornamental papier-mâché. A large assortment of painted Russian papier-mâché items appears in a Tiffany & Co. catalog from 1893. Martin Travers, the English ecclesiastical designer, made much use of papier-mâché for his church furnishings in the 1930s.

Carton-pierre consists of papier-mâché imitating wood, stone or bronze, especially in architecture.

Mexico
Cartonería or papier-mâché sculpture is a traditional handcraft in Mexico. The papier-mâché works are also called "carton Piedra" (rock cardboard) for the rigidness of the final product. These sculptures today are generally made for certain yearly celebrations, especially for the Burning of Judas during Holy Week and various decorative items for Day of the Dead. However, they also include piñatas, mojigangas, masks, dolls and more made for various other occasions. There is also a significant market for collectors as well. Papier-mâché was introduced into Mexico during the colonial period, originally to make items for church. Since then, the craft has developed, especially in central Mexico. In the 20th century, the creation of works by Mexico City artisans Pedro Linares and Carmen Caballo Sevilla were recognized as works of art with patrons such as Diego Rivera. The craft has become less popular with more recent generations, but various government and cultural institutions work to preserve it.

Paper boats
One common item made in the 19th century in America was the paper canoe, most famously made by Waters & Sons of Troy, New York. The invention of the continuous sheet paper machine allows paper sheets to be made of any length, and this made an ideal material for building a seamless boat hull. The paper of the time was significantly stretchier than modern paper, especially when damp, and this was used to good effect in the manufacture of paper boats. A layer of thick, dampened paper was placed over a hull mold and tacked down at the edges. A layer of glue was added, allowed to dry, and sanded down. Additional layers of paper and glue could be added to achieve the desired thickness, and cloth could be added as well to provide additional strength and stiffness. The final product was trimmed, reinforced with wooden strips at the keel and gunwales to provide stiffness, and waterproofed. Paper racing shells were highly competitive during the late 19th century. Few examples of paper boats survived. One of the best known paper boats was the canoe, the "Maria Theresa", used by Nathaniel Holmes Bishop to travel from New York to Florida in 1874–75. An account of his travels was published in the book Voyage of the Paper Canoe.

Paper observatory domes
Papier-mâché panels were used in the late 19th century and early 20th century to produce lightweight domes, used primarily for observatories. The domes were constructed over a wooden or iron framework, and the first ones were made by the same manufacturer that made the early paper boats, Waters & Sons. The domes used in observatories had to be light in weight so that they could easily be rotated to position the telescope opening in any direction, and large enough so that it could cover the large refractor telescopes in use at the time.

Applications
With modern plastics and composites taking over the decorative and structural roles that papier-mâché played in the past, papier-mâché has become less of a commercial product. There are exceptions, such as Micarta, a modern paper composite, and traditional applications such as the piñata. It is still used in cases where the ease of construction and low cost are important, such as in arts and crafts.

Carnival floats
Papier-mâché is commonly used for large, temporary sculptures such as Carnival floats. A basic structure of wood, metal and metal wire mesh, such as poultry netting, is covered in papier-mâché. Once dried, details are added. The papier-mâché is then sanded and painted. Carnival floats can be very large and comprise a number of characters, props and scenic elements, all organized around a chosen theme. They can also accommodate several dozen people, including the operators of the mechanisms. The floats can have movable parts, like the facial features of a character, or its limbs. It is not unusual for local professional architects, engineers, painters, sculptors and ceramists to take part in the design and construction of the floats. New Orleans Mardi Gras float maker Blaine Kern, operator of the Mardi Gras World float museum, brings Carnival float artists from Italy to work on his floats.

Costuming and the theatre
Creating papier-mâché masks is common among elementary school children and craft lovers. Either one's own face or a balloon can be used as a mold. This is common during Halloween time as a facial mask complements the costume.

Papier-mâché is an economical building material for both sets and costume elements. It is also employed in puppetry. A famous company that popularized it is Bread and Puppet Theater founded by Peter Schumann.

Paper sabots
Papier-mâché was used in a number of firearms as a material to form sabots. Despite the extremely high pressures and temperatures in the bore of a firearm, papier-mâché proved strong enough to contain the pressure, and push a sub-caliber projectile out of the barrel with a high degree of accuracy. Papier-mâché sabots were used in everything from small arms, such as the Dreyse needle gun, up to artillery, such as the Schenkl projectile.

Drop tanks
During World War II, military aircraft fuel tanks were constructed out of plastic-impregnated paper and used to extend the range or loiter time of aircraft. These tanks were plumbed to the regular fuel system via detachable fittings and dropped from the aircraft when the fuel was expended, allowing short-range aircraft such as fighters to accompany long-range aircraft such as bombers on longer missions as protection forces. Two types of paper tanks were used, a 200-gallon (758 L) conformal fuel tank made by the United States for the Republic P-47 Thunderbolt, and a 108-gallon (409 L) cylindrical drop tank made by the British and used by the P-47 and the North American P-51 Mustang.

Combat decoy
From about 1915 in World War I, the British were beginning to counter the highly effective sniping of the Germans. Among the techniques the British developed was to employ papier-mâché figures resembling soldiers to draw sniper fire. Some were equipped with an apparatus that produced smoke from a cigarette, to increase the realism of the effect. Bullet holes in the decoys were used to determine the position of enemy snipers who had fired the shots. Very high success rates were claimed for this experiment.

title: Papier-mâché