text:
Talk:Adam Warlock

Redundant?
In the first sentence of the Him to Warlock section; ...artifically created human created by scientists... seems awkward and redundant. I will change to ...artificial human created by scientists... if there are no objections or better suggestions.

I also think "artificial human" is contradictory, since a human would not be "human" if he/she were artificial, but I believe he was described as such in the comics, so it should probably stay that way. Someone with access to that issue might look it up and see exactly what the description was, and then change it to ...described as an "artifical human" created by scientists... (or howevery it actually reads in the comic). Using the quatation marks would indicated that though the two terms are contradictory, it is pulled directly from the source material. Thoughts?--The Eskimo 20:38, 12 August 2009 (UTC) —Preceding unsigned comment added by Eskimo.the (talk • contribs)

Powers Section Out-of-Date
The section describing Warlock's powers looks to be gleaned from the 1980's Marvel Universe "Book of the Dead". That data's over 20 years old, and in Warlock's case is definitely outdated considering the number of times he's coccooned-up since then and emerged stronger than before.

During the Infinity Gauntlet series, it was stated that he, Gamora, and Pip all received augmented levels of strength. This was further elaborated on in The Infinity Watch series to indicate that Pip--by far the weakest--had been augmented to Spider-Man's level of strength, while Gamora was in Iron Man's class. Warlock is at least as strong as Gamora. --SteveG 10:55, 20 March 2007 (UTC)

I agree with this--in his powers section it states he possesses the soul gem, but in the Dr. Strange article, it states he also possesses the Soul Gem. Who has it? 199.111.219.141 07:31, 23 April 2007 (UTC)
 * I have added information (under "recent developments" of the fictional character biography section) regarding Dr. Strange and the Soul Gem. Gaunt Man 10:21, 20 May 2007 (UTC)

Here is a comprehensive view of the Enclave.

http://www.marvunapp.com/Appendix/enclaveff.htm

The Black Hole Grenade is one of those "comic book deaths", and since there is no definitive death sequence, I'd say we have to assume the Greg Pak series takes place later in continuity, unless we are told otherwise by an official source.

Yeah, the continuity kind of sucks, but hey, they're the Enclave, I wouldn't be surprised if they can clone themselves or if Aeysha could ressurect them.

- hey, I added a TON of (what I consider to be) substantial information, though some of it may be non-encyclopedically worded; my apologies. I just wanted to let everyone know it was me since I did it whilst not signed-in. love, --Atsab (09/10/06, 2:14 am)

NPOV?
While Starlin was superb, this article seems a little too biased.71.113.238.56 21:25, 6 May 2007 (UTC)

Fair use rationale for Image:Magusface.png
Image:Magusface.png is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

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BetacommandBot 04:08, 1 October 2007 (UTC)

Solo series and features

 * Avengers Annual #7
 * Avengers vol. 1 #118
 * Cosmic Powers Unlimited #1
 * Curse of Rune #4
 * Doctor Strange vol. 2 #32, 36, 47
 * Fantastic Four vol. 1 66-67, 369-370
 * Incredible Hulk vol. 2 #158, 176-178
 * Infinity Abyss vol. 1 #1-6
 * Infinity Crusade #1-3, 6
 * Infinity Gauntlet #1-6
 * Infinity War #1-6
 * Marvel Comics Presents #108-111
 * Marvel Premiere #1-2
 * Marvel Team-Up vol. 1 #55
 * Marvel Two-in-One #61-63
 * Marvel Two-in-One Annual #2
 * Marvel Universe: The End #1-2, 6
 * Quasar #38-40, 50, 53-54
 * Rune vol. 2 #0-3, 6-7
 * ''She-Hulk (2004) # 7-8
 * Silver Surfer & Warlock: Resurrection #1-4
 * Silver Surfer vol. 3 #44-50, 52, 55, 83-88, 93-94
 * Silver Surfer/Rune #1
 * Starblast #1
 * Strange Tales vol. 2 #178-181
 * Thanos #1-6
 * Thor vol. 1 163-166, 468-471
 * Ultraverse Unlimited #1
 * Warlock and the Infinity Watch #1-42
 * Warlock Chronicles #1-8
 * Warlock vol. 1 #1-15
 * Warlock vol. 2 #1-4
 * Warlock vol. 3 #4
 * Wonder Man (1991) #14

Fair use rationale for Image:MP-9.jpg
Image:MP-9.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

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If there is other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images uploaded after 4 May, 2006, and lacking such an explanation will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.

BetacommandBot 09:11, 7 November 2007 (UTC)

Where is it said that the Living Tribunal removed Adam Warlock's Godhood because he was "artificial"? In the Infinity War it merely shows the Living Tribunal ruling against Warlock without an explanation as to why. —Preceding unsigned comment added by 76.112.145.249 (talk) 01:06, 12 November 2007 (UTC)

B-Class Assesment required
This article needs the B-Class checklist filled in to remain a B-Class article. If the checklist is not filled in by 7th August this article will be re-assessed as C-Class. The checklist should be filled out referencing the guidance given at Version 1.0 Editorial Team/Assessment/B-Class criteria. For further details please contact the Comics WikiProject. Comics-awb (talk) 11:25, 30 July 2008 (UTC)

 * Done. (Emperor (talk) 22:59, 30 July 2008 (UTC))

Post-Infinity Watch
The section after the Infinity Crusade goes a little too quickly into stuff that happens after the Infinity Watch ended. I actually came to this page looking for that information. I doubt it's absolutely vital to know what happens to Warlock in that short period. For example, I wanted to know about this miniseries called Starblast which came out after Crusade -- it's fairly crappily written and is interesting only in that it has an intriguing mix of characters you don't see anywhere else (Warlock, Hyperion, Ikaris, Darkstar, etc.) -- but I became curious about that period in Warlock's story. For example, what happened when Rune stole the Infinity Gems and how did Warlock get back from the Ultraverse, etc. But this article goes immediately from the Crusade into this:

"Warlock next appeared in an intergalactic asylum, encased in a self-generated cocoon, and after being reincarnated with a slightly different appearance assists in stopping a crisis instigated by several warped Thanos clones"

Even if the period I'm curious about isn't vital, the first clause is technically inaccurate because that is not where he "next appeared" -- that's where he appeared several years later (roughly nine years later).F. Simon Grant (talk) 23:16, 3 November 2008 (UTC)

Here we go again
Publication history and Fictional character biography, by whatever wording you want to give those discrete sections, are mashed together here. In-universe material is supposed to be present tense, and real-life historical material past tense. There's a lot to do to straighten out such MOS vios as "An unrelated and short-lived series titled Warlock featuring the alien cybernetic character Warlock ... is also published" — no, it is not. It was published back around 2000, but not longer — and to divide the material into the two sections as WikiProject Comics guidelines have it. -- Tenebrae (talk) 23:55, 9 November 2009 (UTC)

 * I have no issue with language changes (just don't over intellectualize it and let it become verbose). As to format, it would seem there needs to be a guideline (which is what they are, not strict mandates) for short articles, and one for longer articles. After all, we don't want a PH for a longer article to read like a list (which was tried and doesn't read well). I will have another pass at it soon. Regards Asgardian (talk) 00:24, 10 November 2009 (UTC)
 * I've always proclaimed that the mashup doesn't work. Either you're telling a story of how a character has developed within his world or you're relating the experiences of what writers have done and felt regarding the character; this "take the bio and make it look like it's out of universe" doesn't really accomplish either. BOZ (talk) 01:47, 10 November 2009 (UTC)

 * "which was tried and doesn't read well." Asgardian's claim is dubious; he is virtually the only veteran editor in favor of a mash-up. "I will have another pass at it soon" suggests to me we need to do an RfC and get additional editors' voices. For the moment, at least two editors prefer not to have mashed-up articles, so I would like to express trust that Asgardian will respect that. If he wants to call for additional comment, that would be fine and proper. Going rogue is not. -- Tenebrae (talk) 02:42, 10 November 2009 (UTC)

 * You are making assumptions again. It was tried. See Rhino and Abomination before I rewrote them another way. And yes, I can - as is my right as an editor - tackle an article. Anyone can. Also, please refrain from emotive terms such as "rogue". That is your opinion and does not help discussions. Think it through before reaching for the keyboard. Many thanks. Asgardian (talk) 02:51, 10 November 2009 (UTC)

 * I don't know what other term to use when an editor consistently goes against consensus and guidelines, and draws the ire of numerous other editors to the point that Arbitration proceedings are launched against them — so much so that the very behavior you exhibit today had you placed on parole for a year. -- Tenebrae (talk) 03:10, 10 November 2009 (UTC)

 * Per, there is this:

The structures suggested in this section are intended to serve as a starting point for writing a good article; they are not meant to enforce a single, binding structure on all articles, nor to limit the topics a fully developed article will discuss.

Perhaps more discussion is required, yes? Asgardian (talk) 03:30, 10 November 2009 (UTC) Wikipedia works through consensus. The debate above currently sees a consensus currently emergent that is against merging the two sections. Editors should proceed in line with that consensus unless and until it changes on this talk page. Hiding T 10:13, 10 November 2009 (UTC)
 * Consensus.

FCB written in-universe
Material specifically discussing writer/artist contributors are real-world and go into the PH. The FCB, under whatever name, is written in-universe and present tense. The real-world writers and artists are not part of the fictional universe. This article needs rewritten to address this. -- Tenebrae (talk) 21:02, 13 November 2009 (UTC)

 * Yup, and that's what's happening right now - just doesn't all happen overnight. Regards. Asgardian (talk) 00:56, 14 November 2009 (UTC)

 * Actually, it does. It's 1:36 a.m., and I've just finished disentangling (and fixing the cover-date abbreviations). Most of the content otherwise reads much the same as it did before, minus some trims for wordiness, changing passive voice to active voice, and removing some fannish phrases that are meaningless to non-comics-fan, general-audience readers ("the Titan" Thanos).

 * It is consensus-derived WPC MOS to separate real-world PH from in-universe, present-tense fiction. Please see Hiding's comments above. Obviously, any of us can edit this article. It belongs to no one. However, wholesale reversion of what other editors respect as WPC MOS is improper. I'd also ask you to click through to the footnoted databases before making series-title changes. -- Tenebrae (talk) 06:44, 14 November 2009 (UTC)

 * Again, why does it have all happen overnight? Is there a deadline? Do you want applause for working into the night on an article anyone can edit? The PH & Biography were being separated, which you have contributed more to. I'll also made a few extra additions, as we can all contribute here. That said, let's keep some perspective. We're not saving the world here. Asgardian (talk) 04:16, 15 November 2009 (UTC)

 * I simply stated facts. No need to snipe or be uncivil. -- Tenebrae (talk) 02:12, 16 November 2009 (UTC)

Too detailed FCB?
In the last 6 days, I've cut the FCB down from 1900 words to 750, but the excessive plot tag keeps getting put back. If something is still too bulky, could someone mention it specifically so I can work on it? Argento Surfer (talk) 15:40, 16 August 2011 (UTC)Argento Surfer

Merger proposal
A large portion of the information in the Magus article is already present on the Adam Warlock page, and the rest should be condensed into a few paragraphs and added. The two are the same character and the Magus article is mostly just a more detailed plot summary of info already covered on the Warlock page. -Fandraltastic (talk) 15:09, 11 September 2012 (UTC)
 * I'm opposed to a merge. Yes, some of the content is dupicated, but the two are distinct enough to warrent separate articles. The Magus was a separate entity in Infinity War and his appearance in Captain Marvel vol 4 had nothing to do with Warlock, and doesn't belong in this article. Argento Surfer (talk) 16:38, 11 September 2012 (UTC)
 * So make a "Magus" section in the other versions section of the page. The point is that there are only about two small paragraphs worth of material on the Magus page that aren't present here already. -Fandraltastic (talk) 16:54, 11 September 2012 (UTC)
 * I don't have strong feelings about it. If you perform the merger, I won't reverse it. Argento Surfer (talk) 17:32, 11 September 2012 (UTC)
 * ✅ After cleaning up the Magus page, I agreed. I've done the merge. Argento Surfer (talk) 20:23, 10 October 2012 (UTC)
 * Nice job, cheers. -Fandraltastic (talk) 20:25, 10 October 2012 (UTC)

Proposing the same for the Goddess page - didn't realize that version had an article here, too. The character came about in the same manner as the Magus did, and is another alternate version of Adam Warlock within the comics. The Goddess article here is nothing but a far too in-depth plot summary, that can be significantly trimmed and merged into the "Other versions" section of this article as the Magus article was. -Fandraltastic (talk) 23:05, 7 January 2013 (UTC)
 * How would you feel about merging her to List of Marvel Comics characters: G instead? The Magus is *actually* Adam Warlock (except for the Infinity War version...), but the Goddess is actually a different entity. Argento Surfer (talk) 14:14, 8 January 2013 (UTC)
 * She's split from his psyche in the same manner Magus was, so while technically she's a separate entity she's just another reflection/version of him, spun out of the same being/character. I guess you could merge it to the G list but it makes more sense to merge it here. Just my two cents. Cheers. -Fandraltastic (talk) 14:40, 8 January 2013 (UTC)

✅ After giving it some thought, you're right. Argento Surfer (talk) 17:02, 18 January 2013 (UTC)

My opinion on this matter is that this is a big mistake. Official Handbook Marvel Universe Deluxe Edition #8 (July 1986) lists Magus as his own character as does the October 1993 issue of the Official Handbook Marvel Universe Master Edition and Marvel's own website has a separate listing for Magus. The different incarnations of Magus are potential future and alternate versions of Adam Warlock, the first two are clearly divergent from Adam Warlock. Only the third is part of Adam Warlock's history. Adam Warlocks listing should list the connection to Magus and Magus' listing should do the same. The information does not need to be repeated, a brief explanation with a link to each other's listings, like most listings of this sort, is useful. But Magus is a major Marvel Villain, Adam Warlock and Magus should have their own listings as Marvel themselves list them differently, and anyone looking for information about Magus in specific shouldn't have to sift through everything that is written about Adam Warlock to find out what is specific to Magus, which is why I was led to this page which unfortunately is too cluttered with information to be useful or specific to what I'd like to know about Magus. beanlynch —Preceding undated comment added 22:42, 16 January 2014 (UTC)

First appearance conflict
I don't know what "OSPG" is, but I own FF 66, 67, and Thor 165. Him appears fully revealed with a very significant role in the issue. It is certainly more than a cameo. Argento Surfer (talk) 14:10, 13 February 2013 (UTC)
 * This has come up again. Discussion at Wikipedia talk:WikiProject Comics. Argento Surfer (talk) 23:36, 17 May 2016 (UTC)

Partnerships ordeal
Hello. Just wanted to point out that it was me doing those edits on mobile in which I changed the partnerships. The reason being is that 1) Kismet has met Adam once in canon. And he didn't accept her in the story. It was in one of Quasar's books. Can't remember the issue atm. But perhaps the most important is that 2)He was actually in partnership with both Gamora and Pip the Troll. This date even BEFORE and AFTER the Infinity Watch. It wasn't up until 2006-07 with Annihlation & Annihilation Conquest that they've split into the Guardians of the Galaxy but hey, even Pip the Troll and Adam recently reunited in Infinity Finale. They weren't just teammates (Although they were), hence why I decided to add them both. Considering how they were part of his supporting cast in his own series or in others like Stranger Tales, it seem out of place and inaccurate to not cite that.JayAaerow (talk) 20:46, 13 September 2016 (UTC)

"a picture of Adam Warlock"?
And it's Neptune? That can't be right. I don't know enough about this character, so I'll let someone with more knowledge determine if this is correct. Dogman15 ( talk ) 05:22, 7 May 2017 (UTC)

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title: Talk:Adam Warlock


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Great Britain and Ireland

Great Britain and Ireland may refer to:

 * The United Kingdom of Great Britain and Ireland, the sovereign state created in 1801, combining the former Kingdom of Great Britain with Ireland, separated by the Anglo-Irish Treaty of 1921
 * Great Britain and Ireland, the two largest islands in the British Isles
 * The present-day United Kingdom and the Republic of Ireland, two sovereign states
 * Ireland–United Kingdom relations, the relations between the Republic of Ireland and the United Kingdom

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

title: Great Britain and Ireland


text:
Wikipedia:Articles for deletion/Mike Wasdin

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was speedy delete (11:06, 13 Jun 2005 Geogre deleted "Mike Wasdin" (Prank/libel)) - Mailer Diablo 00:46, 14 Jun 2005 (UTC)

Mike Wasdin
Notability not established Samw 00:55, 13 Jun 2005 (UTC)
 * Speedy Delete as attack page. Andrew Lenahan - St ar bli nd 01:18, Jun 13, 2005 (UTC)
 * Delete as vanity, speedy if possible. I wish pure vanity was a clearly defined speedy. Mr Bound 02:10, Jun 13, 2005 (UTC)
 * Gone. Speedied. - Mailer Diablo 00:46, 14 Jun 2005 (UTC)

 * This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.


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Remix culture

Remix culture, also known as read-write culture, is a term describing a culture that allows and encourages the creation of derivative works by combining or editing existing materials. Remix cultures are permissive of efforts to improve upon, change, integrate, or otherwise remix the work of other creators. While combining elements has always been a common practice of artists of all domains throughout human history, the growth of exclusive copyright restrictions in the last several decades limits this practice more and more by the legal chilling effect. In reaction, Harvard law professor Lawrence Lessig, who considers remixing a desirable concept for human creativity, has worked since the early 2000s on a transfer of the remixing concept into the digital age. Lessig founded the Creative Commons in 2001, which released a variety of licenses as tools to promote remix culture, as remixing is legally hindered by the default exclusive copyright regime applied on intellectual property. The remix culture for cultural works is related to and inspired by the earlier Free and open-source software for software movement, which encourages the reuse and remixing of software works.

Description
Lawrence Lessig described the Remix culture in his 2008 book Remix. Lawrence characterized the default media culture of the 20th century using computer technology terminology as Read Only culture (RO), and called for a shift to Read/Write culture (RW).

In the usual Read Only media culture, the culture is consumed more or less passively. The information or product is provided by a 'professional' source, the content industry, that possesses an authority on that particular product/information. There is a one-way flow only of creative content and ideas due to a clear role separation between content producer and content consumer. The emergence of Analog mass production and duplication technologies (pre-Digital revolution and internet like radio broad-casting) enabled the RO culture's business model of production and distribution and limited the role of the consumer to consumption of media.

Digital technology does not have the 'natural' constraints of the analog that preceded it. RO culture had to be recoded in order to compete with the "free" distribution made possible by the Internet. This is primarily done in the form of Digital Rights Management (DRM), which imposes largely arbitrary restrictions on usage. Regardless, DRM has proven largely ineffective in enforcing the constraints of analog media onto digital media.

Read/Write culture has a reciprocal relationship between the producer and the consumer. Taking works, such as songs, and appropriating them in private circles is exemplary of RW culture, which was considered to be the 'popular' culture before the advent of reproduction technologies. The technologies and copyright laws that soon followed, however, changed the dynamics of popular culture. As it became professionalized, people were taught to defer production to the professionals.

Digital technologies provide the tools for reviving RW culture and democratizing production, sometimes referred to as Web 2.0. Blogs explain the three layers of this democratization. Blogs have redefined our relationship to the content industry as they allowed access to non-professional, user-generated content. The 'comments' feature that soon followed provided a space for readers to have a dialogue with the amateur contributors. 'Tagging' of the blogs by users based on the content provided the necessary layer for users to filter the sea of content according to their interest. The third layer added bots that analyzed the relationship between various websites by counting the clicks between them and, thus, organizing a database of preferences. The three layers working together established an ecosystem of reputation that served to guide users through the blogosphere. While there is no doubt many amateur online publications cannot compete with the validity of professional sources, the democratization of digital RW culture and the ecosystem of reputation provides a space for many talented voices to be heard that was not available in the pre-digital RO model.

History
Remixing was always a part of the human culture. US media scholar Professor Henry Jenkins argued that "the story of American arts in the 19th century might be told in terms of the mixing, matching and merging of folk traditions taken from various indigenous and immigrant populations." Another historical example of remixing is Cento, a literary genre popular in Medieval Europe consisting mainly of verses or extracts directly borrowed from the works of other authors and arranged in a new form or order.

The balance between creation and consumption shifted with the technological progress on media recording and reproduction. Notable events are the invention of book printing press and the analog Sound recording and reproduction leading to severe cultural and legal changes.

Analog era
In the beginning of the 20th century, on the dawn of the analog Sound recording and reproduction revolution, John Philip Sousa, an American composer and conductor of the late Romantic era, warned in 1906 in a congressional hearing on a negative change of the musical culture by the now available "canned music". "'These talking machines are going to ruin the artistic development of music in this country. When I was a boy...in front of every house in the summer evenings, you would find young people together singing the songs of the day or old songs. Today you hear these infernal machines going night and day. We will not have a vocal cord left. The vocal cord will be eliminated by a process of evolution, as was the tail of man when he came from the ape.'"

Specialized, expensive creation devices ("read-write") and specialized cheap consumption ("read-only") devices allowed a centralized production by few and decentralized consumption by many. Analog devices for consumers for low prices, lacking the capability of writing and creating, spread out fast: Newspapers, Jukebox, radio, television. This new business model, an Industrial information economy, demanded and resulted in the strengthening of the exclusive copyright and a weakening of the remix culture and the Public domain in throughout the 19th and 20th century.

Analog creation devices were expensive and also limited in their editing and rearranging capability. An analog copy of a work (e.g. an audio tape) cannot be edited, copied and worked on infinitely often as the quality continuously worsens. Despite that, a creative remixing culture survived to some limited degree. For instance composer John Oswald coined in 1985 the Plunderphonics term in his essay Plunderphonics, or Audio Piracy as a Compositional Prerogative for sound collages based on existing audio recordings and altering them in some way to make a new composition. Likewise, the phenomenon of scratch videos emergered at the onset of remix culture.

Remixing as digital age phenomena
Technology changed fundamentally with the digital revolution. Digital information could be reproduced and edited infinitely, often without quality loss. Still, in the 1960s the first digital general computing devices with such capabilities were meant only for specialists and professionals and were extremely expensive; the first consumer oriented devices like video game consoles inherently lacked RW capability. But in the 1980s, the arrival of the home computer and especially the IBM personal computer brought a digital prosumer device, a device usable for production and consumption at the same time, to the masses for an affordable price. Similarly for software, in the 1990s the free and open-source software movement implemented a software ecosystem based on the idea of edit-ability by anyone.

Internet and Web 2.0
The broad diffusion of the Internet and of the Web in the late 1990s and early 2000s created a highly effective way to re-implement a "remix culture" in all domains of art, technology and society. Unlike TV and radio, with a unidirectional information transport (producer to consumer), the Internet is inherently bidirectional, enabling a peer-to-peer dynamic. This accelerated with Web 2.0 and more user-generated content due to Commons-based peer production possibilities. Remixes of songs, videos, and photos are easily distributed and created. There is a constant revision to what is being created, which is done on both a professional and amateur scale. The availability of various end-user oriented software such as GarageBand and Adobe Photoshop makes it easy to remix. The Internet allows distribution of remixes to the masses. Internet memes are Internet-specific creative content which are created, filtered and transformed by the viral spreading process made possible by the web and its users.

Foundation of the Creative Commons
As a response to a more restrictive copyright system (Sonny Bono Copyright Term Extension, DMCA), which started to limit the blooming sharing and remixing activities of the web, Lawrence Lessig founded the Creative Commons in 2001. In 2002 the Creative Commons released a set of licenses as tools to enable remix culture, by allowing a balanced, fair enabling release of creative works, "some rights reserved" instead of the usual "all rights reserved". Several companies and governmental organizations adapted this approach and licenses in the following years, for instance flickr, DeviantART and Europeana using or offering CC license options which allow remixing. There are several webpages addressing this remix culture, for instance ccMixter founded 2004.

The 2008 open-source film by Brett Gaylor RiP!: A Remix Manifesto documents "the changing concept of copyright".

In 2012, Canada's Copyright Modernization Act explicitly added a new exemption which allows non-commercial remixing. In 2013 the US court ruling Lenz v. Universal Music Corp. acknowledged that amateur remixing might fall under fair use and copyright holders are requested to check and respect fair use before doing DMCA take down notices.

Copyright
Under copyright laws of many countries, anyone with the intent to remix an existing work without permission is liable for lawsuit because the laws protect the intellectual property of the work. However, current copyright laws are proving to be ineffective at preventing sampling of content. On the other hand, fair-use does not address a wide enough range of use-cases and its borders are not well established and defined, making usage under "fair use" legally risky. Lessig argues that there needs to be a change in the current state of copyright laws to legalize remix culture, especially for fair-use cases. He states that "outdated copyright laws have turned our children into criminals." One proposition is to adopt the system of citation used with book references. The artist would cite the intellectual property she sampled which would give the original creator the credit, as is common with literature references. As tools for doing so Lawrence Lessig proposed the Creative Commons licenses which demand for instance Attribution without restricting the general use of a creative work. One step further is the Free content movement, which proposes that creative content should be released under free licenses. The Copyright reform movement tries to tackle the problem by cutting for instance the excessively long copyright terms, as it was debated by scholar Rufus Pollock.

Other copyright scholars, such as Yochai Benkler and Erez Reuveni, promulgate ideas that are closely related to remix culture. Some scholars argue that the academic and legal institutions must change with the culture towards one that is remix-based.

In June 2015, a WIPO article named "Remix Culture and Amateur Creativity: A Copyright Dilemma" acknowledged the "age of remixing" and the need for a copyright reform.

Folklore and vocal traditions

 * Folklore existed long before any copyright law. All folk tales, folk songs, folk art, folk poetry, etc. was revised constantly through the folk process. According to Ramsay Wood, the oldest known example of remix culture is the Panchatantra, an ancient Indian collection of interrelated animal fables in verse and prose, arranged within a frame story. The original Sanskrit work is believed to be composed around the 3rd century BCE, based on older oral traditions, including "animal fables that are as old as we are able to imagine". The Panchatantra was reinterpreted in the following 2300 years at least 200 times in 50 different languages all around the world.
 * Cooking recipes might be among the oldest knowledge of mankind which was inherited further and shared unrestricted for adaption and improvement. A recent example is the Free Beer project of Superflex which has recipe and label artwork under a creative commons license, actively encouraging free adaption and reuse.
 * Parodies are a form of satire that adapt another work of art in order to ridicule it. Parodies date back at least to ancient Greek times. Parody exists in all art media, including literature, music and cinema.

Graphic arts

 * Remixing in the graphical arts is long known as appropriation. An example for appropriation in graphics is the never-ending remix of Leonardo da Vinci's piece Mona Lisa (see Mona Lisa replicas and reinterpretations and Derivative works of Mona Lisa). This painting has been reproduced innumerable times with different faces and Photoshop effects, such as Marcel Duchamp's L.H.O.O.Q. Some remixed images include Photoshopped images of the Mona Lisa mixed with Mr. Bean and an alien-like version.
 * Graffiti is an example of read/write culture where the participants interact with their surroundings and environment. In much the same way that advertisements decorate walls, graffiti allows the public to choose the images to have displayed on their buildings. By using spray paint, or other mediums, the artists essentially remix and change the wall or other surface to display their twist or critique. Street art is a sub-genre of graffiti, distinguished by emphasizing artistic elements other than text, and utilizing a variety of mediums, including paint, stenciling, collage, and the incorporation of physical surfaces and objects, while often providing critical social commentary. Street artist Shepard Fairey built their personal brand on a remixed image of professional wrestler Andre the Giant, done in a Pop Art style, with the term OBEY printed beneath the portrait. Fairey applied a similar technique when designing the popular HOPE campaign poster in support of then 2008 U.S. Presidential Candidate Barack Obama. Fairey's HOPE image was also similar in composition to the iconic posterized image of Che Guevara, adapted from the photograph Guerrillero Heroico. That same image of Guevara has also been remixed by notable contemporary English graffiti artist Banksy, who adapted the pastiche in their work Haight Street Rat which depicts a rat wearing Guevara's red beret, and holding a red marker next to the words "This is where I draw the line."

Books and other information

 * Wikipedia is an example of a written remix, where the public is encouraged to add their knowledge in an encyclopedia. The wiki-based website essentially allows a user to remix the information presented. Amazon.com called Wikipedia "the world's most exhaustive and up-to-date encyclopedia" because it is edited and produced by such a large pool of people.
 * Scanlations are fan-made translations of comics from a language into another language.
 * Book mashups, combining multiple books, received attention in 2009 with Seth Grahame-Smith's Pride and Prejudice and Zombies.
 * The OpenStreetMap project creates a free editable map of the world, with over two million registered users who collect data using manual surveys, GPS devices, aerial photography, and other free sources.
 * The Wikimedia Commons is digital data repository open for free content contribution from the public. The content, mostly images and sound files, is licensed under Creative Commons licenses enabling free reuse and remixing by anyone. Another examples are the collaborative image hosting sites Flickr and Deviantart who offer Creative Commons license options.

Software and other digital goods
Software as digital good is well suited for adaption and remixing.
 * Pre-internet Public domain software of the 1960s and 1970s was software which was shared, edited and improved constantly as type-in programs. The Free and open-source software movement can be seen as a kind of successor to that practice.
 * In the Free and open-source software culture, established in the 1990s as opposition to proprietary software, sharing, forking and reusing are natural parts of the development model. For instance, the Linux operating system, with its commercial offspring Android and ChromeOS, is a highly successful result of a software "remix culture".
 * The arrival of Internet facing software repositories helped the remix software development model enormously in the 2000s. GitHub has helped further the collaborative software development in remix style since 2008.
 * Fangames are video games made by fans based on one or more established video games, often acting as a sequel when no official sequel exists. Dōjin soft is the Japanese-specific variant, and homebrew typically for proprietary hardware consoles.
 * OverClocked ReMix is a community dedicated to preserving and paying tribute to video game music through non-commercial re-arranging and re-interpreting the songs.
 * Video game modding is the creative adaption of a released video game. In the 2000s the video game industry noticed the potential and supports often mod makers actively with modding kits. Special cases are fan patches, server emulators and Fan translation of video games who made by fans to alleviate bugs or shortcomings.
 * Machinimas are fan-made videos "remixed" from and with video games, going far beyond the original scope and intent.
 * Retrocomputing and computer and digital preservation activities as emulation and reverse engineering have been described as aspects of the remixing culture.
 * Household 3D printing heavily relies on remixing as this allows users to repurpose existing designs. Several academic studies have highlighted the importance of remixing for the 3D printing community.   Thingiverse is a 3D printing community that allows its users to create, share, and access a broad range of printable digital models. The possibility to remix existing models is the core of this platform. In 2016 Microsoft started Remix3D.com, a community that is also dedicated to 3D printing models.

Music

 * DJing is the act of live rearranging and remixing of pre-recorded music material to new compositions. From this music, the term remix spread to other domains.
 * Sampling in music making is an example of reuse and remix to produce a new work. Sampling is widely popular within hip-hop culture. Grandmaster Flash and Afrika Bambaataa were some of the earliest hip-hop artists to employ the practice of sampling. This practice can also be traced to artists such as Led Zeppelin, who interpolated substantial portions of music by many acts including Willie Dixon, Howlin' Wolf, Jake Holmes, and Spirit. By taking a small clip of an existing song, changing different parameters such as pitch, and incorporating it into a new piece, the artist can make it their own.
 * Music mashups are blends of existing music tracks. The 2004 album dj BC presents The Beastles received acclaim and was featured in Newsweek and Rolling Stone. A second album named Let It Beast with cover art by cartoonist Josh Neufeld was produced in 2006. Mashup DJ Gregg Gillis, who performs as Girl Talk, crafts entire albums out of remixed material, and cites Fair Use privileges to sample copyrighted works. Other notable mashup DJs include Danger Mouse, Dean Gray, and DJ Earworm.
 * Some genres of music are defined by their usage of remixing. DJ Screw created the Chopped and Screwed genre by accidentally playing a record that was meant for 45 rpm at 33 1⁄3 rpm, creating a slowed, laid-back, psychedelic effect. Over the slowed down track Screw would layer drum tracks and then scratch the records to create a classic Southern hip-hop sound. Nightcore is a genre that speeds up mainstream rock, pop, and EDM songs, often with additional production. The sped -up nature leads to the original song playing at a higher pitch, so the production added usually fills out the low-end with heavy bass and then adds other high pitched elements to enhance the energy of the song. Building upon Plunderphonics and Chopped and Screwed, Vaporwave as a musical genre involves slowing down smooth jazz, RnB, and Elevator music and usually adding reverb and backing synths, creating a trippy new-age ambience.

Film and video
In film, remixing is often done and happens in many forms.
 * Most new movies are adaptations of comics, graphic novels, books, or other forms of media. The majority of other Hollywood cinema works are typically genre films that follow strict generic plots. These forms of movies hardly appear original and creative, but rather rely on adapting material from previous works or genre formulas, which is a form of remix. A prime example is the film Kill Bill which takes many techniques and scene templates from other films (predating all these were The Magnificent Seven, an official remake of The Seven Samurai, and Sergio Leone's A Fistful of Dollars).
 * Video mashups combine multiple pre-existing video sources with no discernible relation with each other into a unified video. Examples of mashup videos include movie trailer remixes, vids, YouTube Poop, and supercuts.
 * Vidding is the fan labor practice in media fandom of creating music videos from the footage of one or more visual media sources, thereby exploring the source itself in a new way. The specialized form for animation shows is called Anime music videos, also made by fans.
 * VJing, similar to DJing, is the real-time manipulation of imagery through technological mediation and for an audience, in synchronization to music.
 * Fandubs and Fansubs are reworks of fans on released film material.
 * Walt Disney works are important company remixing examples, for instance Beauty and the Beast, Aladdin, Frozen. These remixes are based on earlier public domain works (although Disney films are altered from their original sources). Lawrence Lessig therefore called Walt Disney a "remixer extraordinaire" and praised him as ideal of the remix culture in 2010. Some journalists however report that Disney tolerates fan remixes (Fan art) more than in earlier times.

GIFs
GIFs are another example of remix culture. They are illustrations and small clips from films used for personal expressions in online conversations. GIFs are commonly taken from an online video form such as film, TV, or YouTube videos. Each clip usually lasts for about 3 seconds and is "looped, extended and repeated." GIFs take a mass media sample and reimagines, or remixes, its meaning from the original context to use it as a form of personal expression in a different context. They are used throughout various media platforms but are most popular in Tumblr where they are used to articulate a punch line.

Fan fiction
Fanfiction is an example of remix culture in action, in relation to various forms of fictional and non-fictional media, including books, TV shows, movies, musicians, actors, and more. Fan fiction is a written, remixed fiction which draws on the characters of the writer's fandom, in order to tell the fan fiction writer's own story, or their version of the original story. Remix Culture relies on creators taking one work and repurposing it for another use just as fanfiction takes an existing work and repurposes it for a new story, or series of events. Steven Hetcher writes that fanfiction, and remix culture at a broader level, can provide social benefit to the societies who participate in writing and reading fanfiction by providing a creative outlet. Fanfiction remixes sometimes change aspects of the characters or setting, often called an alternative universe, with some writers putting pre-existing characters in a new setting, and others taking an established setting and placing in new characters. In the social norms of fan fiction, it is rare for writers to publish or profit off of their works, and so copyright owners and authors rarely enforce copyright law, as these works help form communities and promote the original work.

TikTok
The app TikTok has become a relevant media platform that utilizes remix culture as a marketing and engagement technique, using it to market products to viewers while also entertaining them. Content creators and brands can now collaborate in an environment where remixing content is accepted and encouraged to gain followers through creative videos following trending actions, audios, and memes. Older songs and celebrities are making comebacks by being attached to remix trends, their music or content is now being viewed again by being attached to a trend. Garnering attention for the artist and these bits is a marketing technique that makes viewers want to investigate the artist more. Musicians like Doja Cat and Lil Nas X are two current musicians that have culminated their music in the TikTok remix culture. For example, "Remember (Walking In The Sand)" the 1960s song by the Shangri-Las has recently been remixed to an EDM track that brought more attention to the song and a following into it due to a popular TikTok trend circulating largely in 2020. These trending songs allow for music on TikTok to become spreadable and testable. Companies and artists can test out music bits and loops to see how successful they may become before fully releasing them.

Remixing in religion
Throughout history remix culture has been truthful not only in exchange of oral stories but also through the Bible. Eugene H. Peterson reinterpreted Bible stories in his 2002 book "The Message// Remix" which makes the Bible easier for readers to interpret. An idea of remixing dated back to the Quakers who would interpret the scripture and create a biblical narrative by using their own voices, which went against the "read-only" practice that was more common.

Intertwining of media cultures
For remix culture to survive, it must be shared and created by others. This is where participatory culture comes into play, because consumers start participating by becoming contributors, especially the many teens growing up with these media cultures. A book was published in 2013 by Henry Jenkins called "Reading in a Participatory Culture" which focuses on his technique of remixing the original story Moby-Dick to make it a new and fresh experience for students. This form of teaching enforces the correlation between participatory and remix culture while highlighting its importance in evolving literature. Remix culture can be an integral part of education. Arguably, scholars are constantly remixing when they are analyzing and reporting on the work of others. One study examined the use of remixing among students when presenting learned information. For example, students will pull images, text, and other information from various original sources and place those elements in a presentable format, such as a slide presentation, in order to demonstrate understanding of material reviewed. Media culture consumers start to look at art and content as something that can be repurposed or recreated, therefore they can become the producer. According to an article from Popular Music and Society, the idea of remix culture has become a defining characteristic of modern day technology which has incorporated all forms of digital media where the consumers are also the producers.

Effects on artists
Artists participating in remix culture can potentially suffer consequences for violating copyright or intellectual property law. English rock band The Verve were sued over their song "Bittersweet Symphony" sampling an arrangement of The Rolling Stones' "The Last Time." The Verve were court-ordered to pay 100% of the song's royalties to The Rolling Stones' publishers and to give writing credit to Jagger and Richards. This was resolved in 2019 as Richard Ashcroft of The Verve announced that Jagger and Richards signed over the publishing rights to the song, admitting it was their manager's decision to claim the songs' royalties.

Remix culture has created an environment that is nearly impossible for artists to create or own "original work". Media and the internet have made art so public that it leaves the work up for other interpretation and, in return, remixing. A major example of this in the 21st century is the idea of memes. Once a meme is put into cyberspace it is automatically assumed that someone else can come along and remix the picture. For example, the 1964 self-portrait created by artist René Magritte, "Le Fils De L'Homme", was remixed and recreated by street artist Ron English in his piece "Stereo Magritte". (See Memes in "Reception and Impact")

Meanwhile, despite the legal complexities of copyright protections, remixed works continue to be popular in the mainstream. Rapper Lil Nas X's "Old Town Road," released in 2018, includes a sample by the industrial metal band Nine Inch Nails, while also blending the genres of hip-hop and country music. "Old Town Road" was a smash hit, setting a record of 19 weeks at number one on the Billboard Hot 100 Chart. Four official remixes of "Old Town Road" were released, the first of which featured country singer Billy Ray Cyrus. This formula for genre-hybridization inspired countless unofficial remixes of the track, appropriated for various uses.

Copyright and remixing for disability services
An exemption exists for disability service technology to change copyrighted media to make it accessible to them. The American Foundation of the Blind (AFB), American Council of the Blind (ACB) and Samuelson-Glushko Technology Law & Policy Clinic (TLPC) work with U.S. Copyright Office, Library of Congress to renew the exemptions that allow the visually impaired to convert visual texts in copyrighted work into e-readers and other forms of technology that make it possible for them to access. So long as the copyrighted material is obtained in the legal way, the exemption allows for it to be remixed to help to be accessible to anyone disabled. This exemption extends broadly, including transcribing public broadcasts such as television or radio to be transcribed to braille or visual text if need be. With the proper license, obtained by anyone with a disability that can limit perception, copyrighted material that is obtained legally can be remixed for their understanding. It has last been renewed in 2012 and continues to stand.

Reception and impact
In February 2010, Cato Institute's Julian Sanchez praised the remix activities for its social value, "for performing social realities" and remarked that copyright should be evaluated regarding the "level of control permitted to be exercised over our social realities". Memes have also become a form of political protest and dissent as well as tools used by everyday people as a form of a subversion of the power narrative. Author Apryl Williams asserts that #LivingWhileBlack memes helped the Black Lives Matter movement raise awareness of issues and shift the cultural narrative.

According to Kirby Ferguson in his popular video series and TED talk, Everything is a Remix, and that all original material builds off of and remixes previously existing material. He argues if all intellectual property is influenced by other pieces of work, copyright laws would be unnecessary. Ferguson described that, the three key elements of creativity — copy, transform, and combine — are the building blocks of all original ideas; building on Pablo Picasso's famous quote "Good artists copy, great artists steal.".

Criticism
Some approaches to remix culture have been described as simple plagiarism. In his 2006 book Cult of the Amateur, Web 2.0 critic Andrew Keen criticizes the culture. In 2011 UC Davis professor Thomas W. Joo criticized remix culture for romanticizing free culture while Terry Hart had a similar line of criticism in 2012.

title: Remix culture


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Joel Skinner

Joel Patrick Skinner (born February 21, 1961) is an American professional baseball manager and coach, and former Major League catcher and manager. Skinner mostly has managed at the minor-league level, save for one half of one season at the helm of the Cleveland Indians. He is the son of Bob Skinner, a National League outfielder in the 1950s and 1960s, and himself a former MLB coach and skipper.

In, Skinner became the manager of the Rochester Red Wings, the Triple-A affiliate of the Minnesota Twins. He was replaced by Toby Gardenhire for the 2020 season.

High school career
At Mission Bay High School in San Diego, Joel Skinner, along with Matt Britt, played baseball and water polo. He was drafted following his senior year and was the first player taken in the free-agent compensation draft.

Major league playing career
Originally drafted by the Pittsburgh Pirates, Skinner was traded to the Chicago White Sox in 1983. After brief call-ups to the majors over the next three years, Skinner was slated to start 1986 with the White Sox.

New general manager Hawk Harrelson had taken a liking to Skinner, and decided to make him the starting catcher in place of Carlton Fisk. This made some sense on paper; Fisk was 38 years old, and conventional wisdom then as now held that catchers at that age don't have many years left. Harrelson wanted to have Fisk's successor in place when Fisk retired. To ease the transition, Fisk was moved to left field. The move backfired when Skinner batted only .171 in April. On May 10, Fisk became the regular catcher, and Skinner only made 25 more starts behind the plate before being traded to the New York Yankees on July 30.

Skinner's career never really recovered after that. He bounced between the majors and minors with the Yankees and Cleveland Indians until his retirement in 1994.

Minor league managing career
Skinner spent six seasons managing in the Indians minor league system from 1995–2000. Overall, he compiled a record of 448–333 (.574) and took his teams to the playoffs in five of six seasons. In 1995 Skinner managed the Watertown Indians to a record of 46- 27 and a New York–Penn League title, and received Manager of the Year honors. With the Columbus Redstixx (South Atlantic League) in 1996, he managed them to a second half title and a regular season record of 79–63. In 1997, Skinner managed the Class A Kinston Indians (Carolina League) as they won titles in both the first and second halves with an 87–53 record overall, earning him Carolina League Manager of the Year honors. From 1998 through 1999, Skinner managed the Akron Aeros and was named USA Today Baseball Weekly's Minor League Manager of the Year in 1998, after guiding the Aeros to an 81–60 record and an Eastern League regular season title. Skinner then managed the Triple-A Buffalo Bisons to the best record in the International League in 2000, including an IL North Division title with a record of 86–59 (.593). His leadership of the Bisons in earned him Minor League Manager of the Year honors from Baseball America and The Sporting News in addition to being given International League Manager of the Year honors. That same season Skinner was a coach for Team USA in the 2000 All-Star Futures Game in Atlanta.

In 2011 Skinner was hired as the manager of the Charlotte Knights, the White Sox Triple-A affiliate, for the 2012 season.

In 2016, Skinner was the manager of the Winston-Salem Dash of the Carolina League.

On January 17, 2018, Skinner was named as the 45th manager of the International League's Rochester Red Wings, the Triple-A affiliate of the Minnesota Twins. His contract was not renewed for the 2020 season and he was replaced by Toby Gardenhire.

Major League managing/coaching career
Skinner was named to the coaching staff of the Cleveland Indians on November 10, 2000, succeeding Jim Riggleman as third base coach. He was named interim manager of the Tribe on July 11, 2002 after Charlie Manuel was let go in a contract dispute. At the time, Skinner was the youngest manager in the major leagues, at age 41. He skippered the team to a 35–41 record to finish the season, including a 15–13 record in September. Skinner's name was mentioned among candidates to the permanent manager's job, but Eric Wedge was chosen instead. Skinner remained on the Indians' coaching staff until Manny Acta was hired in 2009. On October 20, 2010, Skinner was hired as the Oakland Athletics bench coach for the 2011 season replacing Tye Waller. On November 14, 2011, Skinner was hired as the manager of the Charlotte Knights.

title: Joel Skinner


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Mystery Hunters

Mystery Hunters is a Canadian documentary television series aimed at a young audience. It aired on YTV in Canada and on Discovery Kids and MeTV in the United States. It was also dubbed in Japanese and aired in Japan on NHK.

Teenage hosts Araya and Christina investigate paranormal or global historical reports of mysteries such as legendary creatures/monsters, disembodied spirits, dinosaurs and aliens/unidentified flying objects. They use scientific rigour to try to find plausible explanations for the sightings and eye-witness accounts that trigger their investigations. In another section of the show, Doubting Dave, a scientist played by David Acer, attempts to explain mysterious personal experiences that have been emailed in by viewers, in a feature called "V-Files", as well as a way to create your own versions of the mysteries in the show in his "Mystery Lab" segment.

Produced by Apartment 11 Productions, four seasons and 78 episodes of the series have been made, and it has garnered awards and accolades from around the world, including eight Gemini Award nominations, a 2006 Parents' Choice Award, and a 2007 Japan Prize (sponsored by the Japanese television network NHK) for the "Stonehenge" episode, awarded the Minister of Internal Affairs and Communications Prize in the Early Education category.

Sequence
The program begins with a question that introduces the two investigations of the week, leading into the opening title sequence. Then follows part one of each of the two stories with Araya and Christina each featured in one. Then the "V-File"; Doubting Dave answers a viewer's question about some mysterious occurrence. Then, part two of each adventure. Next comes the "Mystery Lab" segment featuring Doubting Dave doing some kind of experiment or laboratory demonstration to illustrate a point that is most often related to that week's theme. Finally, Araya and Christina conclude their stories. At the conclusion of each program, the hosts appear together in a comedic wrap-up link, usually closing out with the Mystery Hunters signature tag-line: "Remember, things aren't always what they seem!"

Episodes
Mystery Hunters has aired 78 episodes over four seasons.

Doubting Dave
Doubting Dave, played by David Acer, has two segments in each episode, in which he provides more logical answers. In one segment, he answers questions sent in to Mystery Hunters by fans of the show. In the other, he conducts an experiment that has to do with the episode's topic (e.g. UFOs)

Araya and Christina
Christina Broccolini and Araya Mengesha are the ones who go to a wide variety of locations to investigate the topic(s) included in the show. In most episodes, they go to separate locations, but in some episodes, they go together to the same location.

Music
Claude Castonguay, Christian Clermont and Marc Ouellette compose the musical score for Mystery Hunters. It is a mixture of pop, techno and orchestral styles. The composers were nominated for Music Score for a Documentary Program or Series".

DVD releases
In September 2007, the first-ever Mystery Hunters DVD was released in Canada, a three-episode collection timed for Halloween called Mystery Hunters: Beastly Beings and Monstrous Mysteries, and in the Fall of 2008, a Mystery Hunters/Doubting Dave guide to paranormal tricks and hoaxes called ''Gotcha! 18 Amazing Ways to Freak Out Your Friends'' will be published by Kids Can Press.

Another DVD was released early December 2007, titled Mystery Hunters: Alien Encounters, featuring three episodes from the series about the said topic. Extras include interviews with the cast and a behind the scenes featurette with Araya.

Online games
In September 2010, a set of Mystery Hunters themed online adventure games entitled Mystery Hunters Training School was released. The website was produced in an 'interactive comic book' format containing 13 episodic adventures featuring intro and closing videos from Christina and Araya, quizzes in Doubting Dave's voice, and puzzle games and animation following themes presented in the show.

title: Mystery Hunters


text: Category:Action theorists

title: Category:Action theorists


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Zaruma

Zaruma, officially Villa Real de San Antonio del Cerro de Oro de Zaruma is a town in the south of Ecuador, El Oro Province. It is located in the south-east of this province, at an altitude of 1200 metres above sea level, on an inter-Andes route where the Vizcaya mountain range branches off from the Chilla mountain range. It is the seat of Zaruma Canton, one of the oldest cantons in the province.

Zaruma is known for its republic-era architecture, gold mines, culture and traditions, art and coffee and for having been founded by Spanish explorer Alonso de Mercadillo. These attributes have led to its receiving various titles celebrating both its tangible and intangible aspects, and in 1998 the Ecuadorian Institute for Cultural Heritage submitted it as a candidate UNESCO World Heritage Site.

Zaruma was named a Pueblo Mágico (magical town) by the Ecuadorian Ministry of Tourism (MINTUR) in 2019. It is one of five communities across the country that inaugurated the programme that year.

Etymology
The word Zaruma is formed from two quichua words: sara, which means corn, and uma, which means head. That is to say, Zaruma to translates to "corn head", a name attributed to the existing corn and to the gold mined here, which is similar in colour to a corncob. It is not known why the spelling was altered from "Saruma" to "Zaruma". However, historian Jorge Núñez claims that Zaruma means "small mountain peak".

First settlers
It is believed that one of the few states existing among early settlers was Zarzas, which contained eleven tribes: the Cariamangas, Catacochas, Catamayus, Gonzanamaes, Guachanamaes, Malacatos, Piscobambas, Vilcabambas, Yanganas and Zarumas.

Integration
It is believed that the Cañari settled in what is now Zaruma canton between 500 and 1400 CE. This is supported by the existence of important archeological sites such as Guayquichuma, Chepel, Payama, Trencilla, San Antonio, Chiva Turco, Tocto Shuqin, Guartiguro, among others, all of which have been attributed to the Cañari.

Inca invasion
In the 1480s, the Cañari settled in Zaruma were overpowered by the Incas who were then under the command of Huayna Capac. After ordering his subordinates to explore the north, they invaded the Zaruma basin, enslaving the indigenous Cañari for 50 years.

The Inca, now settled in Zaruma, felt compelled to contribute to the ransom of Atahualpa when he was taken prisoner by the Spanish. In 1533, their chief Quinará decided to take a lot of gold in order to pay this ransom. Records say that he crossed the river Pisco Bamba, Catamayo Canton, but on learning of Atahualpa's execution he buried the gold in deep galleries close to the Guatuchi Hacienda in Loja Province.

Conquest and foundation
In 1549, the first Spanish towns were established in this region by the Spanish caudillo Alonso de Mercadillo. Zaruma became very important because of its rich gold deposits, for which reason Philip II of Spain granted it the title of "Villa de Sant Antonio del Zerro de Oro de Zaruma" (Villa Real de San Antonio del Cerro de Oro de Zaruma on October 17, 1593.

On 8 December 1595, Captain Damián Meneses (under the orders of García Hurtado de Mendoza, Viceroy of Peru) fulfilled the royal edict and definitively founded Zaruma. This foundation had much significance for the area, including the loss of its cultural identity due to the imposition of a dominant culture, as well as the formation of rigid structures of injustice against indigenous rights.

On 20 January 1749, the city and the majority of its mines were destroyed by an earthquake. To the misfortune of the Spanish, a large indigenous rebellion erupted and resulted in a mass exodus and the ruin of the city. After this, Zaruma entered into a deep economic depression, but with the efforts of some miners and official aid from the Crown allowed the importation of native peoples to work in the mines, which allowed the improvement of the city's circumstances. Research suggests that between 1536 and 1820, Spain benefited from approximately 2,700 tonnes of Zaruman gold.

Independence
On 26 November 1820, Zaruma declared its independence from Spain. Following the examples of Quito, Guayaquil and Cuenca, a group of Zaruman patriots supported by Cuencan intellectuals declared their independence despite the fierce opposition of the government of Loja. The architects of its freedom were Fray Justo Gaona and Francisco Barnuevo, together with Ambrosio Maldonado, Bonifacio de los Reyes, Antonio Barzallo, José María Gálvez and José Gusmán y Román, citizens who signed a document at the Loja council house, now considered as its independence act.

After independence, the area fell into a state of deep depression. However, its mining industry never completely disappeared.

Gran Colombia and Zaruma's Gold
On 25 June 1824, Zaruma was raised to the level of canton according to the Colombian territorial division law, which named it as part of the province of Loja, department of Azuay. The Liberator Simón Bolivar, trying to reenergise mining production and find resources for administering the state, passed the Mining Laws in 1829 and named Sr Manuel Astudillo Samaniego as the Mining Magistrate for this canton.

Restarting the economy
The newly formed state invited technicians and businesses from throughout the world to invest in mining, especially in Zaruma. In 1862, García Moreno created a tax on mining in order to benefit Zaruma municipality. In 1876, Ignacio de Veintimilla hired the German geologist Teodoro Wolf to study Zaruma's mines. Later, in 1860, the Great Zaruma Gold Mining Company Limited was formed with the help of English investments and a total capital of £250,000.

El Oro Province
On 29 November 1882, Zaruma, Machala and Santa Rosa provinces declared the creation of a new province named El Oro, in honour of the region's gold, of which Zaruma was capital until 1884. On 23 April 1884, with the New Law of Territorial Division, the province was recognised but with its capital in Machala.

Crypto-Judaism
It has been widely reported for many years that Zaruma and its neighboring city Loja, Ecuador has been a safe-haven place for Crypto-Jews. Evidence includes customs and a Ladino dialect.

In December 2013, Israeli Ambassador Eliyahu Yerushalmi officially visited the governor of El Oro, hosting several councillors in the presence of the mayor Danilo Astudillo Mora, the main local authorities, representatives of institutions, schools and student delegations symbolically handing over the keys of the city. The mayor also announced that this would establish some points of cooperation that would affect the development of the region. Jose Reyes Aguilar, head of the University of Quevedo, also presented some views on the reality of the livestock sector and the future agreements established with Israel. The Israeli Ambassador took the floor to congratulate the authorities and its people for preserving a wonderful, pleasant and unique city, which identifies its Sephardic descent, and offered to build international relations in the areas of technology and education.

Other dates
In 1990, the Ecuadorian Ministry for Education and Culture declared Zaruma as an Ecuatorian Cultural Heritage site. Since 1998, Zaruma has been on Unesco's list of candidates for World Heritage Site. In 2022, arachnologists named a large new species of tarantula from Zaruma after the town: Pamphobeteus zaruma Sherwood et al., 2022

title: Zaruma