History of the Yo-Yo – Tom Van Dan Elzen

Yo-Yo History

In the early days, our ancestors lived a simple yet challenging life, with most of their time focused on survival and very little dedicated to recreation. Then came one of humanity’s most significant innovations—the invention of the wheel—which not only transformed mobility but also encouraged interaction between different communities. Alongside these early exchanges, it’s not hard to imagine ancient competitions like the first-ever yo-yo tournaments emerging.

While the exact origins of the yo-yo remain uncertain (you’ll find various theories in other sources), we do know that this fascinating toy dates back at least to 400-500 BC in ancient Greece. The Metropolitan Museum of Art houses examples of yo-yos from this era, which are part of the museum’s prestigious Fletcher Fund collection.

Interestingly, some ancient Greek urns from the same period depict scenes of people performing yo-yo tricks, including what appears to be the classic “walk the dog” move.

Fast forward to the Mayan era, around 700 AD, and there is evidence to suggest that yo-yos existed in this advanced civilization as well. According to local legend, there is a yo-yo from this time on display at the Anthropological Museum in Merida, located on the Yucatan Peninsula.

During the late 1700s and early 1800s in France, an unexpected figure emerges in the curious history of the yo-yo: Napoleon Bonaparte himself. It’s said that Napoleon, in moments of great stress, would turn to this humble toy as a form of relaxation, likely spinning it in private to soothe his mind before battles or during the weighty affairs of state. Intriguingly, given that many portraits show him with his right hand tucked inside his jacket—a famous stance immortalized in art—it’s tempting to imagine that he was a left-handed yo-yo player, using his free hand to skillfully maneuver the stringed toy.

Around the same time, another significant figure from France’s turbulent history, King Louis XVII, appears in a painting that offers a rare glimpse into this peculiar pastime. Painted by the renowned artist Élisabeth Louise Vigée Le Brun in 1789, the image shows the young monarch holding a yo-yo, then known as “l’immigret.” This poignant moment, frozen in oil and canvas, captures not only a young king’s fleeting innocence but also how this simple toy transcended its status as mere child’s play to become a symbol of a disappearing era, right before the French Revolution would irreversibly reshape the nation’s history. The painting now hangs in the Louvre, a silent witness to a forgotten hobby of France’s ill-fated royalty.

On November 20, 1866, James L. Haven and Charles Hittrick from Cincinnati, Ohio, made history by receiving the very first patent for a yoyo in the United States. Their design, ingeniously “coupled together at their centers by means of a clutch,” marked a pivotal moment in yoyo innovation. It was the first time the concept of rim-weighting, a crucial element in yoyo design, was mentioned in a patent. The patent reads: “It will be observed that the marginal swell C, exercises the function of a flywheel,” highlighting the importance of this weighted rim in improving the yoyo’s performance.

But beyond the technicalities of their invention, this patent signifies something much larger: it was one of the earliest examples of using patents to safeguard design improvements in the mass production of yoyos. This points to the likelihood that Haven and Hittrick were pioneers in the yoyo manufacturing industry, mass-producing yoyos over 50 years before Pedro Flores, who is often credited with popularizing the toy. Their patent also introduced the terms “Bandalore” and “Whirligig,” illustrating the rich history of names and designs that would follow.

In the years after 1866, patents for yoyos and their innovative features surged. In 1867, John Syrcher patented improved methods for attaching the string to the “Wheel Toy.” By 1878, William Katz introduced the “concave” shape, and in 1906, Liebreich & Lothrop’s patent provided a detailed description of rim-weighting, noting that the “outer spherical portion… provides the device with more weight for increasing the efficiency of the operation.”

At the 1904 St. Louis World’s Fair, yoyo souvenirs made a bold appearance, showcasing significant rim-weighting—an indication of its popularity at the time. These souvenirs are considered by many to be among the oldest known “dated” yoyos, embodying the long-standing fascination and evolution of this seemingly simple toy.

In the early 20th century, the yo-yo became a beloved toy in the Philippines, where children and adults alike delighted in its simple yet captivating design. While there are plenty of stories floating around about the yo-yo’s existence in the Philippines before this period, they belong to the realm of myths—charming, but ultimately unsubstantiated tales. Like the whimsical stories from “Mr. Peabody’s Improbable History,” these rumors are best taken with a grain of salt. What we do know for sure is this: in the 1920s, a Filipino man named Pedro Flores lived in the San Francisco Bay Area and began producing a toy that he called the “Flores Yo-Yo.” Interestingly, in Filipino, the word “yo-yo” translates to “spring,” perhaps hinting at the toy’s bouncing, back-and-forth motion.

Around 1927, a chance encounter between D.F. Duncan Sr. and a young boy playing with a Flores yo-yo would forever change the fate of this humble toy. Duncan, a visionary marketer, immediately recognized the yo-yo’s potential to capture the imaginations of people everywhere. Teaming up with newspaper mogul William Randolph Hearst, Duncan struck a clever deal: in exchange for free or discounted advertising space in Northern California’s newspapers, the Flores company would organize yo-yo competitions. But here’s the twist—participants had to bring in new newspaper subscribers as their entry fee.

The strategy was a resounding success. Within two short years, D.F. Duncan Sr. had acquired Flores’s company and founded the Genuine Duncan Yo-Yo company. It was then that the name “yo-yo” became officially trademarked, cementing its place in the cultural and commercial landscape.

In the world of innovation, even the simplest of tools can undergo significant transformation. This was certainly the case for the beloved yoyo, a timeless toy with roots in many cultures. As any avid player will tell you, repetitive looping tricks inevitably cause the string to either untwist or tighten — a common frustration. For right-handed players, the string would loosen; for left-handed ones, it would tighten, impacting the flow and precision of their tricks.

Enter 1930, when a creative mind by the name of Leonard Powell from Kalamazoo, Michigan, stepped up with a solution. Powell devised a clever invention, the “Finger Ring with Swivel,” which brilliantly addressed the string issue, allowing players to enjoy a smoother experience by preventing the constant twisting and untwisting of the string.

But that year also marked another significant breakthrough in the world of yoyos. Alphonso Flores Mirafuentes, a little-known yet ingenious inventor, recognized the practicality of being able to take a yoyo apart. His solution? A simple bolt and nut system — a concept so effective that it remains the core of how most yoyo manufacturers, even today, construct their toys. This seemingly minor change allowed for easy maintenance and repair, revolutionizing the toy’s design. The Playmaxx company later built on this idea, adding a “Lock Nut” to ensure the yoyo stayed securely together during the most aggressive tricks.

Fast forward to 1934, another leap forward in yoyo design occurred thanks to E.S. Savage, who introduced the iconic “Rainbow” design, produced and sold by Duncan. This new look not only appealed to the eye but became an instant classic, cementing the yoyo’s place as a symbol of both playfulness and skill.

Around the same time, Louis Marx, a renowned manufacturer of tin toys, ventured into the yo-yo market in the United Kingdom under the “Lumar” brand. He produced both the classic #33 model and the innovative Lumar whistling yo-yo, which captured the attention of many. Eventually, Marx brought these yo-yos to the United States, continuing to sell them under the same name, solidifying his mark on the world of toys.

The tale that was shared with me by Donald F. Duncan Jr. himself, when he gifted me this rare 1939/40 prototype, is a captivating one. Duncan had started experimenting with plastic yo-yos in 1939, aiming to perfect a new design. The early results, however, were less than encouraging—the yo-yo could “sleep” (remain spinning at the end of the string), but it wouldn’t return. Then, history intervened. In 1941, with the onset of World War II, plastic became a controlled, scarce resource, and all efforts to innovate in this space came to an abrupt halt. By 1945, the focus shifted back to producing wooden yo-yos, as the dream of plastic had to wait.

It wasn’t until about 1950 that a breakthrough emerged within the Duncan team—someone conceived the idea of raised radially oriented ribs, known as the “starburst” design. This revolutionary feature redefined how yo-yos functioned, finally enabling plastic yo-yos to return reliably when thrown. The starburst design became the gold standard for yo-yo performance, holding its place as the premier return mechanism until 1997, when “Brake Pad Technology” took its place as the next big leap in yo-yo evolution.

In the 1940s, Eddie Coo, one of the original demonstrators for Duncan, was a figure who left a lasting impression on those who knew him. Captured in this photo alongside his wife, Nina (née Mathewson), Eddie’s legacy is lovingly preserved through the memories shared by his nephew, Jack Swanson, whose recollections paint a vivid picture of a man larger than life.

Here, we share with you Jack’s letter—a glimpse into his uncle’s world, where the magic of yoyo mastery met the warmth of family, even if from a distance. To save space, I have paraphrased Jack’s heartfelt words, but their essence remains.

—

**Dear Tom,**

Eddie married my aunt, Nina Mathewson, sometime in the 1940s. They lived either in California or Florida, but I mostly saw them when they visited Tulsa. Because of this, I didn’t get to know Eddie well, but the memories I do have of him are still strong.

What stood out the most about Eddie was his impeccable style. He was always sharply dressed—whether in a suit, a tie, or a sport coat, with his black hair slicked back. He gave off this effortless charm, always looking happy and, at least to me, genuinely enjoying being around kids.

Although Eddie didn’t work in Tulsa, where I lived, his territory seemed to be on the West Coast. Despite the distance, he never arrived empty-handed. He always had a pocket full of Duncan yoyos. And every time he visited, he would give me one—carved with my name on it. In just a few minutes, he would transform the wooden yoyo with intricate carvings of palm trees, water, birds, and my name. Watching him do this was nothing short of magical.

Oddly enough, I don’t remember Eddie constantly playing with a yoyo, as you might expect. He wasn’t the type to show off unless someone asked. Even then, his performances were brief, but captivating.

I was so proud of Eddie, especially since all the kids in the neighborhood treated him like a celebrity. To us, he wasn’t just my uncle—he was a performer, someone who carried an air of fame wherever he went.

**Yours Truly,
Jack Swanson**

In the 1950s, a pivotal moment in the history of yoyos occurred when Pedro Flores, one of the key figures in popularizing this timeless toy, reintroduced the iconic Flores trademark. His name, which had already been synonymous with the yoyo’s resurgence in the 1920s, was once again attached to innovation and craftsmanship.

By 1959, Jack Sauer pushed the boundaries of what was thought possible, introducing a revolutionary concept by integrating a ball bearing into a “yoyo doll.” This was the first recorded use of a ball bearing axle, a breakthrough that would forever change the performance capabilities of yoyos, making them smoother and more durable for tricks that demanded precision.

That same year, in a flurry of innovation, E. Maderas secured a patent for the “Adjustable String Gap” yoyo, allowing users more control over the string’s responsiveness—a feature that elevated the yoyo from simple toy to a more nuanced skill instrument.

Fast forward to 1965, when Milton Isaacson followed suit by incorporating a ball bearing into a more traditional yoyo design. This subtle yet crucial enhancement cemented the ball bearing as a standard feature in advanced yoyos, further expanding the possibilities for players.

In a particularly interesting development, FIG-6 features an add-on “weight ring” design, enhancing the yoyo’s rim-weighted structure. This inventive step allowed for better stability and momentum during play, showcasing the evolving understanding of physics in yoyo design.

Starbursts, those familiar nodules that provided extra grip and responsiveness, had been floating around for roughly 15 years by this time. However, the first formal patent mention came in 1966, credited to Joe Radovan. Interestingly, there remains a bit of mystery around the true origins of starbursts. If anyone has concrete historical details on their invention, I’d love to hear from you. You can reach me at [email protected].

The ProYo® story is one filled with innovation, transformation, and a passion for the art of yo-yoing. It all began in 1974 when the original ProYo was developed and patented. Just two years later, in 1976, Donald F. Duncan Jr., the son of the iconic yo-yo pioneer, launched his company. Originally named “Duncraft,” it carried the family legacy but only for about six months. At the request of the Duncan Yo-Yo Company, fearing brand confusion, the name was changed to “Duracraft.” This name stuck until 1988, when it evolved into Playmaxx, a name that endures to this day.

The original ProYo remained in production until October 1996, when it made way for the ProYo II, marking a new chapter in the yo-yo industry. To enthusiasts, the ProYo wasn’t just a toy — it was a revolution. It is widely regarded as the “father” of modern yo-yos, setting a precedent with its innovative features and design. The ProYo became the most copied high-tech yo-yo on the market, and for good reason.

What made the ProYo stand out? Its central spool, which ensured the parallelism of the two side members, was one key feature. The undercuts on the side members allowed for advertising side caps, a novelty at the time. Additionally, the ProYo employed a rim-weighted design, which was quite advanced for plastic yo-yos back then. Its distinctive, modern shape wasn’t patented, but it played a critical role in solidifying its legacy as the blueprint for future yo-yos.

The motto, “Copied by many, duplicated by none,” speaks to the enduring influence of the ProYo. In the accompanying images, you’ll see the original Duncraft ProYo from 1976, alongside the Duracraft version. While the name changed, the design remained largely the same until 1996. Also pictured are the screw, axle, and nut assembly from the Duracraft/Playmaxx version, as well as a wooden axle used by advanced players, which could be swapped for the standard brass axle.

When Playmaxx introduced the ProYo II in October 1996, it didn’t just replace its predecessor — it took the world by storm. The ProYo II quickly became the hottest selling high-performance yo-yo globally, gaining massive popularity in countries such as Australia, New Zealand, Singapore, Japan, the United Kingdom, and across Europe. The patented axle design, which allowed for POGs (printed outer graphics) to be displayed on one side, was a masterstroke. This new axle was a marvel of engineering, combining the benefits of a traditional wooden yo-yo with the advantages of a modern, rim-weighted plastic shell.

Fast forward to October 1997, and Playmaxx unveiled yet another game-changer: the “Bumble Bee” ball-bearing ProYo. This yo-yo promised perfection — it could “sleep” for exceptionally long periods, glide smoothly through string tricks without snagging, and snap back into the player’s hand effortlessly when called upon. Aptly named the Turbo Bumble Bee, it was the first yo-yo to perform flawlessly straight out of the box, with no need for tedious adjustments to the string gap. Three separate patents were issued for the Bumble Bee between 1998 and 1999, a testament to its groundbreaking design.

During the same period, Playmaxx also reintroduced the Vid-e-Yo training video in partnership with TimeLine Video, a professional New York-based production company specializing in educational media. The star of the show was none other than U.S. and World ProYo Master Yo-Hans. The video went on to win the prestigious 1998 “Aurora” award for “Platinum – Best of Show,” further cementing Playmaxx’s dominance not just in the yo-yo market, but in yo-yo education as well.

October of 1998 brought yet another milestone with the launch of the Cold Fusion yo-yo, incorporating Playmaxx’s innovative Brake Pad technology. This premium aluminum yo-yo, priced at $150, far exceeded sales expectations, becoming one of the most coveted yo-yos of its time. Collectors and players alike marveled at its precision, beauty, and performance.