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Caló (Chicano)

From Wikipedia, the free encyclopedia

Caló (also known as Pachuco) is an argot or slang of Mexican Spanish that originated during the first half of the 20th century in the Southwestern United States. It is the product of zoot-suit pachuco culture that developed in the 1930s and '40s in cities along the US/Mexico border.

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  • Pachucos Spanglish Tin Tan Zoot Suit Chicano Vida Loca Corrido Cholo Nortec Lowrider Pocho CC
  • Caló mexicano

Transcription

Enough enough enough enough! That's enough work! But enough Enough enough enough enough! That's enough work! But enough enough ENOUGH! Enough what? Uh... Enough. I'm done. I grew up with Tin Tan. Tin Tan was the pachuco. Tin Tan was excellent. He was a comedian who was very famous during the Golden Age of Mexican Cinema Tin Tan was excellent. He was a comedian who was very famous during the Golden Age of Mexican Cinema Germán Valdés, Tin Tan, who had a radio program called Germán Valdés, Tin Tan, who had a radio program called "The Ship of Dreams" in Ciudad Juárez, Chihuahua where he learned what was called back then the "púrica" (slang) of the barrios, of the pachucos. So, he takes what was called back then the "púrica" (slang) of the barrios, of the pachucos. So, he takes to the big screen his version of the pachuco a joking, comical pachuco to the big screen his version of the pachuco a joking, comical pachuco A pachuco who falls in love. But I would say he is one of the portrayals in which the public got to know the image of the pachuco A pachuco who falls in love. But I would say he is one of the portrayals in which the public got to know the image of the pachuco A pachuco who falls in love. But I would say he is one of the portrayals in which the public got to know the image of the pachuco Without knowing you, I desired you. Really? Before meeting you, I dreamed of you. Darling... You came at the moment I waited for you. There was no surprise whatsover when I found you And... how shall we divide the money up, darling? His way of speaking and attire make him unique His way of speaking and attire make him unique With your treachorous love you destroyed all my dreams With your treachorous love you destroyed all my dreams He includes the spinning And so this is one of the images of the pachuco that is displayed prominently before the public And so this is one of the images of the pachuco that is displayed prominently before the public It's an excellent characterization of the pachuco, and he had an extraordinary command of the speech It's an excellent characterization of the pachuco, and he had an extraordinary command of the speech It's an excellent characterization of the pachuco, and he had an extraordinary command of the speech the language, the slang of the pachuco It's surprising that a person who uses such a large number of anglicisms and the slang of the pachuco It's surprising that a person who uses such a large number of anglicisms and the slang of the pachuco can win over a large audience in the city of México, especially since the border region has never been understood can win over a large audience in the city of México, especially since the border region has never been understood That slang was associated with the people living along the border and particularly the pachucos after World War II That slang was associated with the people living along the border and particularly the pachucos after World War II That slang was associated with the people living along the border and particularly the pachucos after World War II That slang was associated with the people living along the border and particularly the pachucos after World War II Well, for example, "Where are you going?" Voy a tirar el "roll." Voy al "mono" con mi "ruca." El "mono" (monkey) was slang for the movies. The "ruca" was the girlfriend. El "mono" (monkey) was slang for the movies. The "ruca" was the girlfriend. Now we would call her la "baby" but the "ruca" was the "morra" (another slang term for girl) And íbamos a tirar un "roll" meant we were going out The body language of Tin Tan has a lot to do with it, not only the style and sharp tongue The body language of Tin Tan has a lot to do with it, not only the style and sharp tongue but the whole persona in terms of his body language and his enormous mouth singing but the whole persona in terms of his body language and his enormous mouth singing With regards to Tin Tan, we remember the movements and the dance craze that he created in the center of the Mexican Republic. He was the one who brought that dance in the center of the Mexican Republic. He was the one who brought that dance in the center of the Mexican Republic. He was the one who brought that dance Those steps that they came out with later in the '50s with Rock 'n' Roll were very similar Those steps that they came out with later in the '50s with Rock 'n' Roll were very similar I have said that... He put in place the creation of those steps without knowing that one day the pachucos would be making history with that Rock 'n' Roll rhythm Effectively, Tin Tan is a romantic character. Tin Tan never acknowledges the violence behind this figure Effectively, Tin Tan is a romantic character. Tin Tan never acknowledges the violence behind this figure Effectively, Tin Tan is a romantic character. Tin Tan never acknowledges the violence behind this figure contrary to the pachucos and cholos who operated in gangs. Interestingly, the pachucos don't take to Tin Tan Rather, Tin Tan takes the pachucos and legitimizes them by way of the movie screen. Rather, Tin Tan takes the pachucos and legitimizes them by way of the movie screen. In the Mexican cinema, he also fits in as a type of interpreter who presents the daily life of Mexicans--not necessarily Mexican-Americans-- In the Mexican cinema, he also fits in as a type of interpreter who presents the daily life of Mexicans--not necessarily Mexican-Americans-- In the Mexican cinema, he also fits in as a type of interpreter who presents the daily life of Mexicans--not necessarily Mexican-Americans-- But instead like Mexicans who are more assimilated to life in the United States He is a character who is constantly crossing borders The pachuchos were persons who got together in their classic cars The pachuchos were persons who got together in their classic cars The pachuchos were persons who got together in their classic cars Then, the low-riders emerge from the past pachuco Then, the low-riders emerge from the past pachuco Youngsters from the '60s who got together with older persons Youngsters from the '60s who got together with older persons We're all together This is a '42 Buick '42 The low-rider is born in Los Angeles This has to be rebuilt They put new windows on it. Also, new windows on the back. Next year, you're going to find this "asentado" (looking fine) Next year, you're going to find it "asentado" (looking fine) The low-rider only wants to be dressed sharp, in his shiny car, "ir a tirar" cruisin' and just be out driving in it The low-rider only wants to be dressed sharp, in his shiny car, "ir a tirar" cruisin' and just be out driving in it This one only needs a paint job and detailing. It has everything chromed. And upholstery. The engine... This one only needs a paint job and detailing. It has everything chromed. And upholstery. The engine... This one only needs a paint job and detailing. It has everything chromed. And upholstery. The engine... Spanglish is a mixture of English and Spanish that the Latinos who work in the United States use Spanglish is a mixture of English and Spanish that the Latinos who work in the United States use Spanglish is a mixture of English and Spanish that the Latinos who work in the United States use In that city you can take some pictures or a video of all these reinterpretations of language that people make, writing a word In that city you can take some pictures or a video of all these reinterpretations of language that people make, writing a word In that city you can take some pictures or a video of all these reinterpretations of language that people make, writing a word In that city you can take some pictures or a video of all these reinterpretations of language that people make, writing a word using the sounds, the way you hear it. "Flattop"? and the people write "flattop."? using the sounds, the way you hear it. "Flattop"? and the people write "flattop."? Those are the things that we do And that could be the relationship between the language and those abstractions that are constructed from the meeting of two languages And that could be the relationship between the language and those abstractions that are constructed from the meeting of two languages and two cultures, most of all, and the experiences that we create as border people Well, we are open to this, and, in a way, this is what we do, recognize and restore these elements Well, we are open to this, and, in a way, this is what we do, recognize and restore these elements and place them in our visual space because they are a part of our daily lives and place them in our visual space because they are a part of our daily lives It is a mixture of English and Spanish which is "pochismo." It is a mixture of English and Spanish which is "pochismo." It is a mixture of English and Spanish which is "pochismo." It is a mixture of English and Spanish which is "pochismo." It is a mixture of English and Spanish which is "pochismo." It is a mixture of English and Spanish which is "pochismo." Spanglish could be defined as a new form of speaking in which English and Spanish is constantly being mixed Spanglish could be defined as a new form of speaking in which English and Spanish is constantly being mixed It is a mixture of cultures that represents unique things that you do not find in any other culture It is a mixture of cultures that represents unique things that you do not find in any other culture It is a mixture of cultures that represents unique things that you do not find in any other culture Words that are mixed with the Mexican Words that are mixed with the Mexican that mixes the Mexican and American It's like that slang that is created in the border that is part of our visuals, our concept of our musical and graphic landscape It's like that slang that is created in the border that is part of our visuals, our concept of our musical and graphic landscape It has a lot to do with that border slang which is a derivation of what initially was the pachuco, then the cholo, and later border slang It has a lot to do with that border slang which is a derivation of what initially was the pachuco, then the cholo, and later border slang It has a lot to do with that border slang which is a derivation of what initially was the pachuco, then the cholo, and later border slang It has a lot to do with that border slang which is a derivation of what initially was the pachuco, then the cholo, and later border slang and it's a derivation and a way, for example, of communicating amongst ourselves and part of our job deals with phrases and it's a derivation and a way, for example, of communicating amongst ourselves and part of our job deals with phrases with visual spaces in which the language represents the way that we live with visual spaces in which the language represents the way that we live When I cross the border I am a person who lives in Tijuana who crosses the border every day It's strange but the languages get mixed-up in my head It's strange but the languages get mixed-up in my head After speaking English 10 hours daily and then changing to Spanish, it feels a little strange After speaking English 10 hours daily and then changing to Spanish, it feels a little strange We only speak Spanglish with the gringos who we work with But for me, it surges from the spontaneity of the unconscious We only speak Spanglish with the gringos whom we work with But for me, it surges from the spontaneity of the unconscious We only speak Spanglish with the gringos whom we work with But for me, it surges from the spontaneity of the unconscious I don't even question it...Spanglish There are a lot of them, like... There are a lot of them, like... It's like the Spanglish of the street, like, "Hey, fool. What's up? Qué onda?" It's like the Spanglish of the street, like, "Hey, fool. What's up? Qué onda?" And then there is formal Spanglish. You say three words in Spanish and the rest of the conversation is in English No, cómo es el "dólar?" How much is in dollars, they ask you. Na, 20 pesos. How much is the dollar? Because it something "mixtiado" How much is the dollar? Because it is something "mixtiado" It's a mixture of cultures, definitely We used both languages, Spanish and English. I don't speak it fluently but We used both languages, Spanish and English. I don't speak it fluently but I was able to get my point across, more or less A part of the conversation is done in perfect English and then, suddenly, in a moment, the conversation changes to Spanish and they are talking in perfect Spanish in one moment, the conversation changes to Spanish and they are talking in perfect Spanish in a moment, the conversation changes to Spanish and they are talking in perfect Spanish I could have a conversation with somebody who is talking I could have a conversation with somebody who is talking totally in English, and Spanish doesn't interfere at all in the conversation, or vice-versa totally in English, and Spanish doesn't interfere at all in the conversation, or vice-versa totally in English, and Spanish doesn't interfere at all in the conversation, or vice-versa Maybe it's due to my parents being Mexican Well, it's wrong. Why? Because we have a heritage, and we should respect it. We shouldn't mix. Without other cultures coming to invade ours . Well, it's wrong. Why? Because we have a heritage, and we should respect it. We shouldn't mix. Without other cultures coming to invade ours . Well, it's wrong. Why? Because we have a heritage, and we should respect it. We shouldn't mix. Without other cultures coming to invade ours . Well, language is a living entity. I mean, every now and then, an English word does happen to escape from my mouth I believe that is something that to a certain extent will be very difficult to control I believe that is something that to a certain extent will be very difficult to control I believe that is something that to a certain extent will be very difficult to control I believe that what needs to be done, in my personal opinion, is to maintain one's national, personal and family traditions is to maintain one's national, personal and family traditions but, at the same time, be open to new influences on the condition that one mark the boundaries but, at the same time, be open to new influences on the condition that one mark the boundaries but, at the same time, be open to new influences on the condition that one mark the boundaries For example, we can enjoy some good Chinese food or some good Brazilian or Argentinian food, steak, or what have you For example, we can enjoy some good Chinese food or some good Brazilian or Argentinian food, steak, or what have you I mean, nobody is afraid of that Nor should we be afraid of other languages. However, when one becomes confused Then, that's when we have a problem. It's more than a linguistic problem. It also has a political connotation because the border zone Then, that's when we have a problem. It's more than a linguistic problem. It also has a political connotation because the border zone Then, that's when we have a problem. It's more than a linguistic problem. It also has a political connotation because the border zone is where all those things begin to develop first Or that rules of Spanish grammar are applied to an English verb, like "watch-ar" "push-ar' "mop-ear" "park-ear" to an English verb, like "watch-ar" "push-ar' "mop-ear" "park-ear" These are words in English with the infinitive verb ending These are words in English with the infinitive verb ending These are words in English with the infinitive verb ending Help me to "push-ar" the "car-ucha." Lend me your shades (gafas). I mean, kind of... like the way the cholos talk, very laid back (tiradotes) "What's up, dude (ése)?" "Hey, brother (carnal)!" like the way the cholos talk, very laid back (tiradotes) "What's up, dude (ése)?" "Hey, brother (carnal)!" Let's go visit the girlfriend (hyna). Let's cross the border to go pick up the car (ranfla), let's knock him out ("knock-earlo"), crazy dude And that's how it goes Because every person has their way to communicate, like black people Even they speak a little bit of Spanish Even they speak a little bit of Spanish to communicate, so that they can ask me for a quarter The exact mix of English and Spanish in one single word From childhood, one does not fully learn either English or Spanish completely From childhood, one does not fully learn either English or Spanish completely From childhood, one does not fully learn either English or Spanish completely Even the teachers spoke both English and Spanish Even the teachers spoke both English and Spanish So, "es aquí" (here is) your homework, "vas a traer" (you're going to bring) "una" newspaper and those types of things This is to fill in the background We have grafitti, for example, everywhere He takes back the attire. He regains the form and the esthetic, he regains the tatoos. He takes back the attire. He regains the form and the esthetic, he regains the tatoos. He takes back the attire. He regains the form and the esthetic, he regains the tatoos. He also regains the organization of his territory, this control, this fight over the barrios He also regains the organization of his territory, this control, this fight over the barrios He also regains the organization of his territory, this control, this fight over the barrios and he will regain, of course, his language but reinvented. If before the pachuco would say, "I'll see you (te wacho) later (al rato), a dos bloques (two blocks) from the market (marqueta). But now the cholo would say, "Que chol wa tora? a dos bloques." Then, suddenly, one doesn't understand if one doesn't follow how their language is also transforming the meaning of the words Then, suddenly, one doesn't understand if one doesn't follow how their language is also transforming the meaning of the words But in this case, we can say that the pachuco and the cholo will be using slang that by a large measure is now a border slang But in this case, we can say that the pachuco and the cholo will be using slang that by a large measure is now a border slang The blood is red La sangre es roja by the Colorado River (por el Río Colorado). I don't know what you are saying (No sé lo que está diciendo). Over there, on the other side, there are a lot of rivers (Allá, del otro lado, hay muchos ríos) Over there, on the other side, there are a lot of rivers Allá, del otro lado, hay muchos ríos But they are like their gods who feed on blood Pero son como sus dioses que se alimentan de sangre Haven't you ever heard about human sacrifice? Nunca has oído hablar de los sacrificios humanos? of the Mayas, of the Aztecs de los mayas, de los aztecas of the Mayas, of the Aztecs de los mayas, de los aztecas The bronze race, man! La raza de bronce, güey! The Mayas killed people, they killed each other. Los mayas mataron gente, se mataron entre sí. That's right, dude. Símon, ése. So, what distinguishes the cholo? Traits that deal with work What frightens people is none other than the appearance of labor The handkerchief or bandana is an important symbol of working in the fields or a symbol that was used by many pre-Hispanic communities that used them to wipe away perspiration or a symbol that was used by many pre-Hispanic communities that used them to wipe away perspiration or a symbol that was used by many pre-Hispanic communities that used them to wipe away perspiration The netting is from the experience of working The netting is from the experience of working The netting is from the experience of working in kitchens and restaurants in kitchens and restaurants in kitchens and restaurants The Pendleton shirt is a shirt made of flannel that is a work shirt used in cold regions The Pendleton shirt is a shirt made of flannel that is a work shirt used in cold regions The problem is that it turned into a massive phenomenon and what we discovered is that, one, not all cholos were drug addicts or addicted to drugs and what we discovered is that, one, not all cholos were drug addicts or addicted to drugs not all cholos were criminals, that they had an average of 6 years of schooling These traits became very distinctive and very representative that were reinforced within the context of the barrios through many ways These traits became very distinctive and very representative that were reinforced within the context of the barrios through many ways These traits became very distinctive and very representative that were reinforced within the context of the barrios through many ways These traits became very distinctive and very representative that were reinforced within the context of the barrios through many ways Thus, this effectively generated dynamics of self-destruction in the lives of people in the barrios Thus, this effectively generated dynamics of self-destruction in the lives of people in the barrios Thus, this effectively generated dynamics of self-destruction in the lives of people in the barrios The presence of drug-trafficking marked what came to be known as "the crazy life" The presence of drug-trafficking marked what came to be known as "the crazy life" "The crazy life" is composed of 4 elements: drugs, jail, death, and violence. "The crazy life" is composed of 4 elements: drugs, jail, death, and violence. "The crazy life" is composed of 4 elements: drugs, jail, death, and violence. What is has to do with country music (música norteña) is basically What is has to do with country music (música norteña) is basically the construction of a dialogue that mainly associates the frontier ballad with criminal activities the making of an ethic that deals with acts of illegality Those f*cken wetbacks, illegals that want to invade the holy land, the land of wonders Esos p*nches mojados, illegales que quieren invadir la tierra santa, la tierra maravillosa Those f*cken wetbacks, illegals that want to invade the holy land, the land of wonders Esos p*nches mojados, illegales que quieren invadir la tierra santa, la tierra maravillosa Over there is United States, and God help us, we'll cross the border safely. The promised land. There they are! La tierra prometida. Allí están! Stop! Stop! Don't move! Alto! Alto! No se muevan! Stop! Stop! Don't move! Alto! Alto! No se muevan! You're going to shoot! Vas a disparar! Grafitti are messages, which they sign, messages from one gang to another Grafitti are messages, which they sign, messages from one gang to another stating which gang members have a higher standing, and what have you There are still problems It's legal, but there are certain groups that keep criticizing it, even though it's legal No, well, they were opposed because...

Origin

According to Chicano artist and writer José Antonio Burciaga:

Caló originally defined the Spanish gypsy dialect. But Chicano Caló is the combination of a few basic influences: Hispanicized English; Anglicized Spanish; and the use of archaic 15th-century Spanish words such as truje for traje (brought, past tense of verb 'to bring'), or haiga, for haya (from haber, to have). These words were left in isolated pockets of Northern New Mexico and the Southwest, especially New Mexico, by conquistadores españoles.

He goes on to describe the speech of his father, a native of El Paso, Texas:

My father had a vocabulary of Spanish words that to this day are not found in popular Spanish language dictionaries. He was born into a poor, migrant farm working family in a community of people that still used ancient words that some found improper and backwards but are to be found in Miguel Cervantez's [sic] classic Don Quixote. My father commonly used words such as minjurne for mixture, or cachibaches (also used in Cuban Spanish) for junk. I would hear them without knowing their definition but I knew exactly what he meant when talking within a specific context. Some words were archaic, others were a combination of English and Spanish. And though he knew "standard" Spanish of "educated" people, he also worked, lived, laughed and cried with words that were more expressive and indigenous to the border than standard Spanish.

The Caló of El Paso was probably influenced by the wordplay common to the speech of residents of the Tepito barrio of Mexico City. One such resident was the comic film actor Germán Valdés, a native of Mexico City who grew up in Ciudad Juárez (just across the US-Mexico border from El Paso). His films did much to popularize the language in Mexico and the United States.

Development

Caló has evolved in every decade since the 1940-1950s. It underwent much change during the Chicano Movement of the 1960s as Chicanos began to enter US universities and become exposed to counterculture and psychedelia. Caló words and expressions became cultural symbols of the Chicano Movement during the 1960s and 1970s, when they were used frequently in literature and poetry. That language was sometimes known as Floricanto. Caló enjoyed mainstream exposure when the character "Cheech", played by Cheech Marin, used Caló in the Cheech and Chong movies of the 1970s.

By the 1970s, the term Pachuco was frequently shortened to Chuco. The Pachuco originated from El Paso, which was the root of the city's nickname, "Chuco Town". Pachucos usually dressed in zoot suits with wallet chains, round hats with feathers and were Chicanos.

Caló is not to be confused with Spanglish, which is not limited to Mexican Spanish. It is similar to Lunfardo in that it has an eclectic and multilingual vocabulary.

Features

Caló makes heavy use of code-switching (fluidly changing between two or more languages in a single conversation or exchange). Caló uses rhyming and, in some cases, a type of rhyming slang similar to Cockney rhyming slang or African American Vernacular English jive.

Examples

Since Caló is primarily spoken by individuals with varying formal knowledge of Spanish or English, variations occur in words, especially of phonemes pronounced similarly in Spanish: c/s, w/hu/gu, r/d, and b/v. It is common to see the word barrio ("neighborhood") spelled as varrio, vato ("dude") spelled as bato or güero ("blond/white man") spelled as huero or even weddo.

Usage

The translations should not be taken literally; they are idioms like the English "See you later alligator".

¿Qué Pasiones?
(literally "What Passions") ¿Qué Pasa? meaning "What is going on?"
¿Si ya sábanas, paquetes hilo? or Si ya Sabanas, pa' que cobijas
(literally, "If already sheets, packages thread?/covers what for") ¿Si ya sabes, pa(ra) qué te digo? meaning, "If you already know, why am I telling you?"

Occasionally, English is spoken with Mexican features. Speaking to a sibling or family member about parents, for example, a Caló speaker will refer to them as "My Mother" (Mi Mamá) instead of "Mom" or "Our mother".

Rhyming is sometimes used by itself and for emphasis.

Common phrases include:

¿Me comprendes, Méndez?
"Do you understand, Méndez?"
¿O te explico, Federico?
"Or do I explain it to you, Federico?"
Nel, pastel
"No way" (lit. "Nay, Cake")
Al rato, vato
"Later, dude" (lit. "al rato" means "later"; "vato" means friend or guy)
¿Me esperas, a comer peras?
"Will you wait for me?" (lit. "will you wait for me to eat pears?")
¿Qué te pasa, calabaza?
"Whats going on?" (lit. "What is happening to you, squash/pumpkin?")
Nada Nada, Limonada
"Not much" (lit. "Nothing, nothing, lemonade". Spoken as a response to the above, "¿Qué te pasa, calabaza?").

In popular culture

See also

Sources

  • Aguilar Melantzón, Ricardo. Glosario del caló de Cd. Juárez. (translated by Federico Ferro Gay ; edited by María Telles-McGeagh, Patricia A. Sullivan. Las Cruces, N.M.: Joint Border Research Institute, New Mexico State University, c1989.
  • Burciaga, José Antonio. Drink Cultura: Chicanismo. Santa Barbara: Joshua Odell Editions, Capra Press, 1993. ISBN 1-877741-07-8
  • Cummings, Laura. "The Pachuco Language Variety in Tucson." In Pachucas and Pachucos in Tucson: Situated Border Lives. University of Arizona Press, 2009. pp 95–131
  • Fuentes, Dagoberto. Barrio language dictionary: first dictionary of Caló [by] Dagoberto Fuentes [and] José A. López. La Puente, California: El Barrio Publications, 1974.
  • Galindo, D. Letticia. "Dispelling the Male-Only Myth: Chicanas and Calo." Bilingual Review 16: 1. 1992.
  • Galindo, D. Letticia and María Dolores Gonzales, editors. Speaking Chicana : voice, power, and identity. Tucson: University of Arizona Press, c1999. ISBN 0-8165-1814-9 and ISBN 0-8165-1815-7 (paperback)
  • Hallcom, Francine, Ph.D. "An Urban Ethnography of Latino Street Gangs in Los Angeles and Ventura Counties"
  • Metcalf, Allan A. "The Study of California Chicano English". International Journal of the Sociology of Language. Volume 1974, Issue 2, Pages 53–58
  • JL Orenstein-Galicia. "Totacho a Todo Dar: communicative functions of Chicano Caló along the US-Mexico border." La Linguistique (Paris. 1965)
  • Ortega, Adolfo. Caló Orbis: semiotic aspects of a Chicano language variety New York: P. Lang, c1991. ISBN 0-8204-1542-1
  • Ortega, Adolfo. Caló tapestry. Berkeley: Editorial Justa Publications, 1977. ISBN 0-915808-21-8
  • Polkinhorn, Harry, Alfredo Velasco, and Malcom Lambert. El Libro De Caló: The Dictionary of Chicano Slang. Mountain View, California: Floricanto Press, 1988. ISBN 0-915745-19-4 [1]
  • Webb, John Terrance. A lexical study of Caló and non-standard Spanish in the Southwest. (dissertation), 1976.
  • Manuel Cantú - Pachuco Dictionary ISBN 978-0-615-15944-7
This page was last edited on 20 August 2023, at 20:17
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