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5 Unbelievably Underrated Midschool Tricks

April 2, 2014 By Matt McDade

Paul Escolar, Jason Lee, Chris Neff, Steve Brown, Jeffrey Longoria, and others at BAC 2000

Paul Escolar, Jason Lee, Chris Neff, Steve Brown, Jeffrey Longoria, and others at BAC 2000

Ah, the era of the “midschool” yoyoing. Videos were more grainy, hair was more spiky, and cargo pants had more than enough pockets to tote around Renegades, Freehand 1s, and Spinfaktors as opposed to the more slim denim options of today. “Midschool” can be defined exactly how it sounds, and in the yoyoing world it generally means the era just before, during, and after the “boom” of 1998. It was an era of innovation in absolutely all facets of yoyoing, including tricks, contests, yoyos, and the integration of the recently popularized internet into the yoyoing world.

The most popular tricks of the midschool era are some of the tricks that you may have seen or learned from André Boulay’s YoYoExpert tutorials. Some significant ones include White Buddha (Paul Escolar), Superman (Jason Lee), The Matrix (Doctor Popular), Spirit Bomb (Jeff Longoria), and Kwyjibo (Taylor Whitley). What some players may not not know is that these tricks were learned by André during the era in which yoyo videos had to be downloaded using the dial-up connections of the time. Similar to the recent explosion of the #trickcircle hashtag today, they were created by and shared with enthusiasts and those truly in the know dedicated many hours to staying current to the tricks and trends of the time.

Back then, there were no GoPro tutorials in which you could see the trick as well as the pair of socks that the yoyoer has chosen to wear for the day. Tricks had to be learned through text, and if you were lucky, text and illustrations along with a short video. If you do enough digging, it is still possible to find some of the old tutorials and learn some old tricks if you have the dedication to do so.

In the years after the boom, the numerous tricks of the era were still discussed and learned on message boards of the time and were still some of the hardest tricks to learn. These days, yoyoers have all they could possibly want as far as learning tricks goes, and the tricks from the midschool era that do not have current tutorials of their own are old memories or completely unheard of by most yoyoers. Therefore, there is a goldmine of old tricks that many yoyoers may have never heard of and would probably break their knuckles attempting on one of the tug-responsive yoyos of the time. Yoyos then had to sleep for a long time, not “catch” the string in the middle of a trick, and still be reliably tug responsive.

Think old midschool tricks can’t hang with the tricks of today? Think again.

5. Orange Tulips (Red Clover II)- Paul Escolar

If you get the chance, head over to the Sector Y Archive and watch some of their videos in chronological order. Not only can you see yoyoing itself advance, but you can also see the members of the Spindox Yoyo Club push great concepts further and further with each video. At the release of their “Wish We Were at Worlds” clip video in 2001, the Spindox members were at the top of their game.

The most widely-recognized trick from “Wish We Were at Worlds” is probably Breath, by Spencer Berry. Another elusive-but-amazing trick in the video is Paul Escolar’s sequel to his his slightly-less-elusive trick, Red Clover. Red Clover II, otherwise known as Orange Tulips, combines interesting and still widely unexplored Houdini Mount concepts with a a Wrist Mount ending that makes for a fairly fluid, and pretty hard, trick. Check the video above for the trick, starting at 1:58.

The first move of Orange Tulips is taken from Red Clover, but after that, Orange Tulips makes it’s own identity and features a pop through a triangle string segment that is pretty difficult when first attempting the trick. The pop is necessary to complete the trick properly, and you’ll only know it’s done right when the yoyo lands and creates a Wrist Mount-esque segment that is situated on the fingers as opposed to the wrist. The end of the trick basically does the same thing as the ending of Superman by Jason Lee but in a significantly different way. An extra kink through the Wrist Mount is undone, and as the yoyo lands in a regular Wrist Mount, a normal dismount followed by a return to the hand completes the trick.

The trick is still difficult, and when doing it you can see that Paul was clearly connecting trick segments to do-and-undo each other. Even when performing the trick on a modern, unresponsive yoyo it has a midschool feel and completing it successfully definitely feels great.

The video of Orange Tulips in “Wish We Were at Worlds” is literally the only video of Orange Tulips that is currently online. While obscure, it is definitely underrated in my opinion and is honestly a great trick. Learning and performing it on a modern, unresponsive yoyo proves this, and it’s a shame that it hasn’t received more recognition within the community (A Cabin Tutorial, maybe?).

4. 8 Diagram Pole- SAGE

Coming to prominence around 2001, Black Hops is a trick that is mainly based around “hop” concepts that still remains somewhat relevant with players. SAGE (Albert Gonzales, inventor of the Iron Whip.), a yoyoer from the East Coast who was also doing grinds and slacks early in their creation, created a similar but significantly more difficult trick with 8 Diagram Pole in 2001.

I have yet to learn 8 Diagram Pole, but those that have speak of it’s difficulty. It doesn’t appear that it would be any easier on an unresponsive yoyo, but anyone that has thrown responsive and has seen the trick can most likely see it’s difficulty during the time it was created.

The concept behind the hops are somewhat similar to Spencer Berry’s “Insta-Mounts” (which Adam Brewster has been creating and sharing via #trickcircle lately) and despite lacking the flashiness and fluidity of today’s popular tricks, 8 Diagram Pole definitely deserves a place on this list as well as a place in trick history. SAGE has not been involved in yoyoing since the early 2000’s but his contributions undoubtedly left a mark on yoyoing.

3. TimeTwister- Gabriel Lozano

TimeTwister is probably the least underrated trick on this list, but it is still fairly underrated in my opinion and not necessarily known as well as some other tricks from the era. While it does have some “modern” exposure, TimeTwister is still a trick that some players may have never heard of or may have forgotten about. I actually learned TimeTwister early in my yoyoing career, and it’s remained one of my favorite tricks since.

In watching a lot of of old Spindox videos, you can see Citadel (Gabriel Lozano) playing around with a lot of concepts that are very similar to the ones in TimeTwister and you can also eventually see him throw TimeTwister itself, too. Everybody had their own elements to mess with back then, and Gabe chose twisty 1.5 mount concepts, rolls, and a sort of flowy trick that’s different than a lot of other stuff from it’s time and stuff from now as well.

In a non-cynical way, my favorite part of TimeTwister is the end. The part at the end in which you manually untwist the strings that you twisted a step prior really blew my mind when I first started yoyoing. The sideways barrel roll/hug movements within the trapeze towards the end were especially tricky for me to hit when first learning the trick too.

Pulling off TimeTwister feels really good, even on a newer yoyo. It’s a pretty long trick, and remembering all of the moves and doing them just right is definitely impressive.

2. Water Bomb- Steve Brown

I’m pretty sure that innovative frontstyle stuff was just about as common, if not a little more common, in the midschool era as it is today. Steve Brown had this frontstyle mount called the H20 Mount which was basically a Split Bottom Mount with an extra segment that allowed a little more creativity within frontstyle yoyoing. Water Bomb is my personal favorite that utilizes the mount, but another trick of Steve’s that utilizes the mount and is equally badass is Chinese Water Torture. Another yoyoer, throwing under the alias “Spiky Haired Raver” had a trick called Spring Water that utilized the mount as well.

Water Bomb definitely makes use of the extra segment within the H20 Mount, along with some rolls and boings to complete the trick. I just really like the midschool-esque fluidity of it all. It may sound obsessive, but I really think it was a combination of the yoyos, concepts being explored, and general climate of the late 90’s/early 2000’s that made for some really, really great yoyoing despite being outdated today.

I first saw Steve throw Water Bomb in the How to be a Player video by Duncan, and was impressed because at the time I had just learned Split the Atom and Mach 5. It really impressed me at the time, and it would still probably be a great challenge to learn today if a proper tutorial existed for the trick.

1. Havoc- Spencer Berry

It was genuinely hard to think of the #1 trick for this list. I didn’t necessarily write it in any particular order, but in any case “#1” should typically be exciting in some way or another. Well, what’s more exciting than a trick called “Havoc”, right?

It’s hard to believe that Spencer Berry invented in this trick in 2001. In my interview with Spencer, he said that Havoc was all about pushing complexity and he definitely did it with this trick. I first saw Havoc quite some time ago, and couldn’t even begin to get a grip on how to do it. Even now that I can do it quite well, it does not feel like any other yoyo trick that I’ve done before.

In my opinion, Havoc is the perfect trick technically, visually, and difficulty wise. Not only is it hard to learn, but it also hard to actually smooth out because all of the moves are so obscure that even a seasoned yoyoer will have trouble figuring them out at first. It follows the great tradition with it’s string segments doing-and-undoing themselves and lots of subtle movements being necessary to do in order for the trick to be performed properly.

Havoc is 1/3 of Spencer Berry’s Destruction trilogy of tricks (alongside Enigma and Cataclysm) and the reason that I chose Havoc out of the 3 is because it’s simply the most different and most difficult in my opinion. Luckily, Chuck over at CLYW dropped a Cabin Tutorial for it last year and if you’re interested in learning it, doing so is only a click away!

Hopefully you enjoyed this look at some obscure yoyo tricks! I actually didn’t start yoyoing seriously until 2011, but in the amount of time that I have been yoyoing I’ve definitely enjoyed learning about the vast history of our great hobby. Shoutout to Gabe and Spencer for letting me use their old videos, and shoutout to Steve for hopefully not feeling really old after reading this! If you have any stories, tricks, or anything to share feel free to email me at: throwplaza@gmail.com!

 

Filed Under: Trick Theory, Video Tagged With: featured, gabe lozano, mid school, paul escolar, sage, spencer berry, steve brown, trick theory

A Primer on Technical YoYoing

February 19, 2014 By Drew Tetz

The deeper one gets into yo-yoing, the more one is exposed to all the wonderful jargon and nebulous concepts that its enthusiasts have come up with. One of the trickiest bits of vocabulary to define has always been “technical yo-yoing”: most players know it when they see it, other players can give you a vague definition, and non-players will look at it and walk away shaking their heads.

This particular style of tricks is known for its intense complexity, its focus on slight details & variations in tricks, and its heightened level of difficulty. Yo-yo tricks exploded in growth with the introduction of the bearing, and it could be argued that the roots of technical play were established with Steve Brown, Neff, and the SpinDox during the Renegade era. However, “tech” as we know it would really hit its stride in 2003 with Johnnie DelValle’s groundbreaking championship freestyle.

The focus on intricate string play and long, risky combos was a huge paradigm shift. Though the Eli Hop and other showy choreographic moves have found their way back into competitive play, technical play shows no signs of leaving. If anything, the championship title awarded to Hungarian tech wizard Janos Karancz a decade after JD’s victory seems to indicate a new golden age of tech.

I thought it would be best to turn to the pros to discuss some of the core tenets of technical trick construction, and am proud to feature well-respected trick theorists Mikhail, Rafael, Isaac, Spencer, Gabe, and Jacob. Let’s hear about it.

How would you define “technical yo-yoing”?

 

Mikhail Tulabut (Team YoYoJam): “The simplest way I can define it is a trick/combo whose string geometry is more complicated and dimensional than Double or Nothing. It’s like holding up a flat piece of paper compared to holding up a paper airplane.”

Rafael Matsunaga (Duncan Crew): “For me, if I call something ‘technical’, I’m mostly thinking about complexity of tricks. Even though some simpler concepts may require more technical expertise and are actually harder than what I call technical, I’m probably more inclined to use technical to describe trick with multiple string folds and hard-to-describe mounts and moves.”

Jacob “Elephark” Jensen (Werrd): “I think of modern yoyoing as the sort of yoyoing that focuses primarily on creation and sharing ideas, as opposed to classical yoyoing, which gives importance to mastering a set of tricks and/or performing for the sake of selling yoyos.

I think of technical yoyoing as the facet of modern yoyoing that focuses on concepts and elements for their own sake, or the sake of the trick. The science of yoyo tricks, if you will. … For me, I think the term ‘tech yoyoer’ is most accurately descriptive of a player who studies and preferably attempts to expand the library of trick concepts available to the community. Kind of like a scientist. Okay, exactly like a scientist. And there’s theoretical science and there’s practical science, and each scientist gets to choose how many scoops of each to put on his plate at lunchtime.“

Isaac Sams (Duncan Crew, Innovation Movement): “Technical yoyoing: sequencing that is too complex to fully follow without learning it.”

Spencer Berry: “I usually lump technical yo-yoing into most of the tricks that non-yoyoers may be amazed by, but probably can’t tell apart. Which is a huge lump! To a yoyoer, I could probably even get more specific: tech tricks are those that explore holds beyond the building blocks. Sometimes tech tricks explore new concepts or combine multiple simpler concepts into single motions, but more often than that they are the product of kids seeking originality while they bounce from string to string, knot to knot. If the trick is complicated, it is easier to be unique, right? I often hear tech and flow pitted against each other – but a trick can easily have both or neither and of course grades in between.”

What, in your opinion, makes a trick or combo “good”?

David Ung (Team Yoyofactory): “I think a good trick is one that requires every motion. Extraneous movements in tricks and combos really bother me (in most cases. Some people have really interesting “useless” moves that I think are fantastic). Good tricks generally have great pacing, too. I don’t know exactly how to explain/define good trick pacing… but just look at Yuuki or Charles to get a good idea. There is always enough original material/moves sprinkled throughout the trick to keep you entertained the entire time.”

Gabe Lozano (Duncan Crew, Sector-Y): “To me, a trick or combo should follow a general theme. This can be done in several ways, but my personal favorite is taking a move or hold, and then finding all the neat transitions in and out of that move/hold, and then tying it all together in a way that flows nicely. That way, all the pieces fit together and feel cohesive.”

Mikhail: “1. Dynamics. There should be a rhythm to it. Kind of like the 3 Act structure of story-telling. Setup (Mount), Confrontation (String hits and maneuvers), and Resolution (Banger/Reveal/dismount).

2. Flow. Things should always be moving and feel natural. When I’m working on a trick, I like to feel and “listen” to where the yo-yo and my hands want to go. It obvious when I try a movement and the yo-yo just won’t have it.

3. Surprise/Originality. Natural movement and flow is nice, but I also like to see movements/slack/mounts that come out of nowhere and haven’t been done to death.”

Rafael: “I believe good combos are like good music. Everybody likes a different style, but some characteristics are universal to good combos/music. First of all, a good combo must be well executed, otherwise, it’s the same as a fantastic sheet music being played by a mediocre musician. Then it comes to composition itself. If the elements follow a certain pattern or just go well together, that’s a nice combo. I know that’s a bit vague, but like music, once you listen to a good song or see a good combo, you know it. And just like music, some styles and elements end up becoming a fad and nobody cares any longer, even if people keep doing it (like dubstep, or I guess trap these days)”

Spencer: “I’d say most of MY favorite tricks that I CAN do have sensations to them. Either a motion that just fits right or a theme that carries the yoyo through some sort of story (not necessarily literal, but motions that build, climax, release, arc, etc).

As far as tricks I enjoy watching, my favorites are usually exemplary examples of someone’s personality made yoyo trick. I think Rojas and Haycock are perfect modern examples of this – watching them play they are unmistakeable – often imitated – but never faked. There is a sense of identity – suddenly holds, moves, even tricks you’ve maybe seen before become infused with a fresh personality.

The real challenge, I find, is making a trick sufficiently simple for me to both want to learn it and enjoy doing it. In the past i was drawn to long, complicated, proprietary tricks. Because I knew they were mine and I felt like it was new territory. But I’ve definitely shifted into a seek the simplicity phase where it is equally challenging to find something that is simple but fresh and fun to do.“

Isaac: “Since the ‘modern’ style of yoyoing is so young, we have to take inspiration from the non-yoyo world to make any sense of what we’re doing. Some of today’s best tricks are made like this, and the reason why they’re the best is because everyone can make the connection, not just yoyoers. A good combo has no borders.

Another thing to take note of is utilizing all your possible zones. A really long combo done in front of the player is boring, it usually doesn’t catch enough attention. A well-scoring combo will consist of tech placed inside-arm, outside-arm, overhead, over arm—basically, cover as much area as you can.”

What pitfalls should be avoided during combo construction?

Gabe: “I personally dislike combos that are disorganized. If you’re throwing in hops, boings, stalls, grinds, arms, etc. into one combo, it’s just a disorganized mess. Even if every element is cool, when you throw them all together, your elements don’t get the recognition they deserve because they’re surrounded by too many other moves that don’t complement it. The trick then becomes forgettable. Good tricks are memorable, and having a strong theme and focus is key.”

Isaac: “What kills a combo for me is when a player stays in a mount for a while without accelerating through the trick. What I love about the Russian style is that their combos only consist of ridiculous transitions, so you can barely tell when they are in a mount before they’re already out.”

Rafael: “A trick is boring/bad if no effort is put into it. If you’re just taking existing elements from two popular combos and putting them together, there’s no effort in creativity. If you come up with a new hold but can do nothing with it, there is no effort in construction.

Overusing the music metaphor again, if you’re just doing other people’s combos, you’re that dude with a guitar playing covers on the beach. People may enjoy it, even give you props for playing their favorite song, but when Tom Morello parks across the street you’ll be as good as dead. Good tricks and combos come from trick artists.”

Mikhail: “Never-ending combos. I attribute this to ‘contest yo-yoing.’ Yo-yos spin longer, and regens save time to get more points, but holy crap when a trick should obviously end at a trapeze, and they just regen out of it to regen out again it feels like a run-on sentence that should have clearly ended a while ago but it just didn’t and kept going because it could and it didn’t even use a comma to break up the thought and just started a whole new thought because it was easier to just keep going even though the statement was clearly over and came to a natural and fitting end but nah never mind let’s just keep going for a little bit because I can and then an abrupt. End.”

Spencer: “I don’t want to say that any tricks are bad, I think if someone came up with it and it brings them joy then it is a success.

If a trick or combo is boring it is probably having trouble distinguishing itself. With the abundance of tricks that exist now, it is very easy to create something that may be technically new, but has nothing fresh about it. Which is strange to say—because people make fresh tricks out of old holds, old moves, old tricks all the time—but there is also a lot of new tricks that don’t seem fresh because they don’t assert themselves to anything beyond a series of moves someone put together. Does that make any sense?”

Technical yo-yoing may rightly be regarded as one of the most unapproachable styles, but persistent practice and mindful trick design can also make it one of the most impressive. This is by no means a complete summary of the wide world of tech, but hopefully is enough to inspire you to try some kink mounts.

Filed Under: Interview, Players, Trick Theory Tagged With: david ung, gabe lozano, Isaac Sams, jacob jensen, rafael matsunaga, spencer berry, tech, technical, trick theory

Duncan Crew Worldwide 2013 – Chapter 1

September 24, 2013 By Steve Brown

Duncan Toys has a new video showing off some members of their worldwide team, featuring Paul Escolar, Jeff Coons, Lim Aik Hwee, Gabe Lozano, and Bryan Jardin. Since this is listed as “Chapter 1” I think we can expect more installments, probably featuring Hank Freeman, Rafael Matsunaga, Janos Karancz, and more.

Filed Under: Manufacturer, Players, Video Tagged With: bryan jardin, duncan crew, duncan toys, gabe lozano, jeff coons, lim aik hwee, paul escolar, video

Interview: Gabe Lozano talks Repeaters

June 20, 2013 By Drew Tetz

Today we’re joined by Gabriel Lozano to talk about what many consider to be the purest forms of tricks: repeaters. You should know Gabe as the brains behind Sector-Y, one of the most legendary pioneering online yo-yo resources ever, and as if that’s not pedigree enough he’s also a member of Duncan Crew USA and Spindox. He’s put together too many classic yo-yo videos to name, and has created such timeless tricks as Candyrain and Shockwave. He knows the difference between a good trick and a bad one by now and is here to tell us all about it.

How would you define a “repeater”, and what makes a good one?

Gabe: Obviously, there’s the baseline definition where a repeater is defined as “something that repeats.” But it’s much more than that. For example, take a trick like Mach 5 or Boingy-Boing. Both of these are visually striking because of an element that repeats over and over (rotating hands or bouncing yoyos), but most people would not call them repeaters. The reason is that there’s only 1 element that repeats. Much like you wouldn’t call multiple summersaults or multiple pinwheels “Repeaters,” one-element repetition doesn’t have enough substance to be called a repeater.

I would say that a repeater has a mount (however complex), then two or three elements that repeat over and over in sequence. Something like Mount > Element 1 > Element 2 > Element 1 > Element 2 > … > Element 1 > Element 2 > Dismount. A good repeater will have interesting elements that flow together nicely. To me, the construction of linking Element 1 to Element 2 (and maybe to Element 3) is extremely important. If the transition between elements is abrupt, then the repeater will look ugly. If the transitions are smooth, then everything will flow together nicely and the repetitions will look that much better.

Penultimately, a good repeater has to be relatively short and refined. You would never have a repeater be Mount > Element 1 > Element 2 > Element 3 > Element 4 > Element 5 > Repeat > … > Dismount, because it will take too long to get back to Element 1. There’s too many pieces n the way and the repeater is diluted. At this point, the repetition is no longer the focus of the trick because there’s multiple-elements in the way of the trick repeating itself.

Lastly, repeaters should be simple enough to be visually recognizable. This is definitely more subjective, but it follows from the previous point. If a repeater has too many elements (and is thus complex and not simple), it will not be a good repeater. The complexity of linking several moves together kills any style and grace for that repeater, so complexity (for the most part) should be left out when considering repeater-construction.

So to recap, the best repeaters are smooth, refined, simple, and visually recognizable as a repeater.

I’d love to see a top five of your favorite repeaters and what you like about them – what makes them work?

Gabe: There are soooo many great repeaters out there! In the end, here are 5 repeaters that stand out and exemplify the definition and spirit of the repeater.

Shockwave


Shockwave is one of the most basic repeaters. The fact that it’s so simple (only 2 elements) and flows together so beautifully is what makes it one of the best. OK, maybe I’m biased since I created it, but it really does capture the essence of the repeater concept. When you look at it, it’s very clear that it’s repeating and it does so in an elegant and zen-like way.

Nanda Kanda


Created by Hidemasa Senba, Nanda Kanda is another classic repeater that stands out because of it’s striking clarity and simplistic nature. I also love it because it’s a front-mount repeater that doesn’t involve any sort of somersaults, barrel rolls, or other “complex” components. Nanda Kanda really is as distilled as it gets; it’s composed only of mounts and dismounts.

Mark Montgomery’s Arm Repeater


This is a severely underrated repeater. The reason why I find it so intriguing is the motion in the arms and the motion of the yoyo work together to form an amazing rhythm. It somewhat reminds me of the coupling rods of train wheels, chugging along, repeating the same motion over and over. It’s hypnotic.

Infinity

This is a trick created by both Kalani Bergdorf and Anthony Rojas. This repeater is different from the other repeaters in that the moves are very different in style. The arms crossing and uncrossing, along with the yoyo popping up and over the string, is a really simple idea. The smoothness really brings these unique holds together to form something that looks much more visually striking than you might expect.

Anchovies


This repeater is amazing because of the incredible motion of the yo-yo. One of the factors in having a successful repeater is usually that there are only one or two small components that are repeating. Typically when you start to add too many things, the repeater gets diluted and becomes uninteresting. Anchovies bucks that trend. There are so many cool things going on and, most importantly, they all work together and complement each other to form a very cohesive and distinct repeater.

In addition to creating some of the most timeless repeaters, you’ve helped document countless others in videos such as “Things That Repeat”. How do you make sure that a trick stays interesting in a video even when it’s essentially the same thing over & over?

Gabe: I’ve never really thought much about repeaters being different in a context of the video, but now that you mention it, it there is one big difference that I can think of: when you film a repeater, you get to control the angle and view. This is the same as any other trick, but this probably matters more with a repeater because if you’re going to do the same motion 3 times in a row, you better make it look good. A prime example is Anthony Rojas’ trick Infinity. The trick looks boring when collapsed and filmed from a straight-on angle. This is because you can’t see the incredible 3D-ness of the trick. But when filmed from above at a 3/4 view, it looks so incredibly awesome. Compare this clip to the one above and see for yourself:

But don’t get me wrong. Angle isn’t everything. No angle can make a bad repeater look good. The key to having a repeater stay interesting is to make interesting repeaters. There’s no way around it!

Do you have any advice for anyone that is looking to create a new repeater?

Gabe: When it comes down to it, repeaters are simple tricks. They are not complex, long-winded combos, but rather purified elements that link together. The key to making a successful repeater is to make sure every single element is interesting. Since repeaters are constructed using only a few moves, it becomes extra important to make sure that each of those moves is interesting and important. Don’t fill your repeater with extra underpasses, somersaults, or other movements that are combinations of other movements. If you do, you will likely dilute your repeater into something more complex, and lose the magic that a simple repeater has.

Filed Under: Interview, Players Tagged With: citadel, Duncan, featured, gabe lozano, Gabriel Lozano, Interview, repeaters

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