They're good for rounding up half-finished puzzle pieces or stickers or can be used for push pin motor skills work.
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When she starts eating household objects—a marble, a push pin, a battery, and other more dangerous things—it takes a while for anyone to notice.
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He ventured south to the High School of Music & Art and then to Cooper Union, ultimately teaming with his classmates Seymour Chwast and Edward Sorel to form Push Pin Studios.
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"I really equate Push Pin to the Beatles," said Steven Heller, a co-chairman of design at the School of Visual Arts and former art director at The New York Times.
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While his courage is admirable, this lil' guy has to be penalized pretty heavily because he's not actually holding a knife, but rather a different type of stabby object (push pin). Yawn.
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After an emotional confrontation, Push-pin chops Fai in the neck with a machete, killing him. Tung sees Push-pin leaving the club; when he runs inside to see what happened, the sight of Fai's body on the floor leaves him devastated and wanting revenge. Tung, loaded with alcohol and barbiturates, cruises town to find Push-pin. He receives word Push-pin is back at his underground casino and goes there to bring Push-pin down once and for all.
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When Push-pin realises slapping Yoyo has resulted in Cheung becoming an enemy, Push-pin hands Tung a handful of money, "as a gift." Actually, this act is a bribe, and when Cheung is later attacked by a group of Push-pin's men and Tung, having made the connection, attempts to bring Push-pin in, Push-pin reminds Tung of the money he'd given him. Tung finds himself powerless to arrest Push-pin without exposing himself as having been bribed. Things come to a head when Fai returns to town and learns that Yoyo is seeing Cheung.
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Push-pin was immortalized by Jeremy Bentham when he wrote in The Rationale of Reward that: "Prejudice apart, the game of push-pin is of equal value with the arts and sciences of music and poetry." John Stuart Mill, who disagreed with Bentham on this point, misquotes Bentham as saying, "Push-pin is as good as poetry." Mill's version is now widely attributed to Bentham.
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The push pin was invented in 1900 by Edwin Moore and quickly became a success. These pins are also called "map pins" and are distinguished by having an easy to grip head. There is also a new push pin called a "paper cricket". See also drawing pin or thumb tack.
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Push Pin Studios is a graphic design and illustration studio formed in New York City in 1954. Cooper Union graduates Milton Glaser, Seymour Chwast, Reynold Ruffins, and Edward Sorel founded the studio. After graduating from Cooper Union, Sorel and Chwast worked for a short time at Esquire magazine, both being fired on the same day. Joining forces to form an art studio, they called it "Push Pin" after a mailing piece, The Push Pin Almanack, which they self-published during their time at Esquire.
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This results in Tung taking on not only Push-pin, but all his underlings as well. Cheung shows up with his officers to help, only to find Tung moments later seemingly dead from a steel spike Push-pin has rammed into Tung's gut. Seconds later, Push-pin is killed by one of Fai's men as revenge for his killing of Fai. As it turns out, Tung survives and he and Cheung pay a visit to the lead triad boss, Tai, where the two promise to eventually bring him down.
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New York: Van Nortrand Reinhold, 1986. Sorel left Push Pin in 1956, the same day the studio moved into a much nicer space on East 57th Street. For twenty years Glaser and Chwast directed Push Pin, while it became a guiding reference in the world of graphic design. Today, Chwast is principal of The Pushpin Group, Inc.
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Glaser took drawing classes with artists Raphael and Moses Soyer, before attending the High School of Music & Art in Manhattan. After graduating from the Cooper Union in New York City, Reynold Ruffins, Seymour Chwast, Edward Sorel and Glaser founded Push Pin Studios in 1954. Glaser joined after his return from Italy. In 1957, the Push Pin Monthly Graphic was sent out to friends and clients.
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Sorel and Chwast used their unemployment checks to rent a cold-water flat on East 17th Street in Manhattan. A few months later, Glaser returned from a Fulbright Fellowship year in Italy and joined the studio.Blechman, R.O. "Edward Sorel," Hall of Fame biography, Art Directors Club (2002). The bi-monthly publication The Push Pin Graphic was a product of their collaboration.Seymour Chwast & Push Pin , accessed June 6, 2008.
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Pushpin Group website, accessed June 6, 2008. The exhibition "The Push Pin Style" traveled to the Museum of Decorative Arts of the Louvre, as well as numerous cities in Europe, Brazil, and Japan in 1970–72. Graphic designers and illustrators John Alcorn (in the late 1950s), Paul Davis (1959-1963), Barry Zaid (1969–1975), Paul Degen (1970s) and others spent time at Push Pin early in their careers.AIGA Biography of Paul Davis.
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"Parish and Belonging: Community, Identity and Welfare in England and Wales – 1700-1950", K.D.M Snell, Professor of Rural and Cultural History at Leicester University; Cambridge Press, 2006. Edwin Moore patented the "push-pin" in the US in 1900 and founded the Moore Push-Pin Company. Moore described them as a pin with a handle. In 1903, in the German town of Lychen, clockmaker Johann Kirsten invented flat-headed pins for use with drawings.
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The box art was created for EA by veteran gaming illustrator Marc Ericksen. It features Harley blasting out of the kitchen sink, holding a red plastic push pin for scale reference.
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Chwast was born in the Bronx, New York City and in 1949 graduated from Abraham Lincoln High School in Brooklyn where he was introduced to graphic design by Leon Friend. He graduated with a Bachelor of Fine Arts from Cooper Union in 1951. With Milton Glaser, Edward Sorel, and Reynold Ruffins, he founded Push Pin Studios in 1954. The bi-monthly publication The Push Pin Graphic was a product of their collaboration.Seymour Chwast & PushPin, accessed June 6, 2008.
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Fai goes after Cheung; their fight leads to a standoff with Tung between them, and Yoyo proclaiming she and Cheung are in love and are having a baby. Fai storms off, followed by Tung. The two decide it's time to pay a visit to Push-pin, who has now been officially promoted by the area's lead triad boss, Tai, into Fai's place as dai lo. While Tung waits outside the disco, Fai goes in to confront Push-pin.
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While still a student, he produced his first commissioned illustration, a pencil drawing which appeared in the October 1959 issue of Playboy Magazine. After finishing his courses at School of Visual Arts, he was hired by Milton Glaser and Seymour Chwast, partners in the groundbreaking Push Pin Studios. A series of his target paintings was the subject of issue 32 (1961) of the studio's publication, The Push Pin Graphic. He then illustrated “A Bestiary” of famous people, conceived and written by artist Edward Sorel which appeared in the July 1962 issue of Horizon Magazine.
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All classes are air-conditioned. Each class has a whiteboard, message board and 2 push-pin boards, one at the front right side and one at the back. Cambridge classes and KBSM classes have additional facilities, Promethean Activboards, SMART boards and Epson Multimedia Projectors. Teachers and students use these boards for presentations and interactive teaching.
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The studio's work rejected tradition and favored "reinvigorated interpretations of historical styles". Glaser and Seymour Chwast directed Push Pin for twenty years, while it became a guiding reference in the world of graphic design.Pushpin Group website, accessed June 6, 2008. The studio "redefined and expanded the imprimatur of the designer, illustrator, and visual culture at large".
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Push-pin was an English child's game played from the 16th until the 19th centuries. It is also known as "put-pin", and it is similar to Scottish games called "Hattie" and "Pop the Bonnet".Francis Willughby's Book of Games In philosophy it has been used as an example of a relatively worthless form of amusement.
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Sorel was a co-founder of Push Pin Studios with Milton Glaser, Seymour Chwast, and Reynold Ruffins in 1953. In 1956 Sorel went freelance. His first published illustration was A War for Civilization was sold to the satirical magazine The Realist;Paul Krassner (2005) One hand jerking: reports from an investigative satirist, p.33 in 1961.
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Milton Glaser (June 26, 1929June 26, 2020) was an American graphic designer. His designs include the I Love New York logo, the psychedelic Bob Dylan poster, and the logos for DC Comics, Stony Brook University, and Brooklyn Brewery. In 1954, he also co-founded Push Pin Studios, co-founded New York magazine with Clay Felker, and established Milton Glaser, Inc. in 1974.
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Yoyo refuses, an action which results in Push-Pin slapping her across the face. Cheung finds out and takes revenge by inspecting Push-Pin's establishments every night. As Cheung and Yoyo's relationship turns serious, Tung finds his own relationship with a married woman turning sour. She routinely asks him for money [note: seems she's paying him for sex], which leaves him constantly broke.
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Glaser started his own design firm, Milton Glaser Inc, in 1974 and left Push Pin the following year. In 1983, Glaser formed a partnership with Walter Bernard and established a publication design firm called WBMG in New York City. WBMG has designed more than 50 magazines, newspapers and periodicals around the world. Over his career, Glaser personally designed and illustrated more than 400 posters.
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The MSG90 is a militarized variant of the PSG1 that is both strengthened and lightened while less expensive. Compared to the PSG1 which is regarded as a pure sniper rifle, the MSG90 can fill the role of a designated marksman rifle. The PSG1 and MSG90 have different trigger packs. The MSG90 uses a modified version of the push pin trigger packs of H&K; roller locked select-fire assault rifles.
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In push-pin each player sets one pin (needle) on a table and then tries to push his pin across his opponent's pin. The game is played by two or more players. In "Pop the Bonnet", or "hattie", players place two pins on the brim of a hat. They take turns tapping or "popping" on the sides of the hat trying to cause pins to cross one another.
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Alcorn's early career included work in the art department of Esquire magazine, a brief stint with a pharmaceutical advertising agency, and sound training at the Push Pin Studios, the celebrated design studio founded by Milton Glaser, Seymour Chwast, Reynold Ruffins, and Edward Sorel. In 1958, Alcorn joined CBS Radio and subsequently the CBS-TV art department, where he worked with Lou Dorfsman. In 1961, Alcorn left CBS to work as a freelancer.
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Four Walls was included in the 1995 exhibition entitled Other Rooms at Ronald Feldman Fine Arts. Four Walls presented The Jobs Show in which artists posted artifacts from their day jobs next to a single film slide of their artwork hung from a push pin. In 1997, Four Walls produced a work entitled, Liberty Exchange Project for a group exhibition of outdoor works curated by the artist collective p.t.t.red. The exhibition, entitled, Niemandsland took place in the region around the Brenner Pass, Italy.
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It is estimated that fewer than 400 HK41s were produced and even fewer imported into the U.S. for civilian consumption. Today, HK41s can sell for anywhere between $3,000 and $6,000 depending on the condition and the economy at the time. An original 1966 model with the push-pin hole in the receiver can sell for around $9,000. These are very scarce because most of them were used as hosts for full-auto conversions prior to the May 1986 machine gun ban.
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A knotting board is often used to mount the cords for macramé work. Cords may be held in place using a C-clamp, straight pins, T-pins, U-pins, or upholstery pins. For larger decorative pieces, such as wall hangings or window coverings, a work of macramé might be started out on a wooden or metal dowel, allowing for a spread of dozens of cords that are easy to manipulate. For smaller projects, push-pin boards are available specifically for macramé, although a simple corkboard works adequately.
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Rainbow Loom logo The Rainbow Loom is a plastic pegboard measuring by . It has push pin-type pegs over which small, colored rubber bands are looped and pulled by a rainbow loom crochet hook. The resulting looped knots, known as Brunnian links, can be assembled on the loom into bracelets and other shapes. The Rainbow Loom kit includes the loom (the pegboard), a rainbow loom hook, 25 special C-shaped clips to connect both ends of the bracelet, and 600+ small rubber bands in assorted colors.
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The Leafmen set out to fight the Boggans; M.K. tries to get help from her father by visiting his various cameras he had set in the forest. However, upon regaining consciousness, Bomba believes that he didn't really see M.K. and that he has been insane all these years, and shuts down all his cameras. He changes his mind when he sees the red push-pin that M.K. had put on his map. Bomba is overjoyed to see that he has been right and he follows M.K. to Moonhaven.
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After graduating he worked in a design studio (Rapier Arts Ltd.) in London, England and traveled throughout Europe (1961–1962). Following his return to Canada he worked as a freelance graphic designer and illustrator and as a studio art director (Colopy Associates) in Toronto (1963–66). He then returned to London where he freelanced for two years, represented by Artist Partners Ltd. (1966–68), before joining the New York design consortium Push Pin Studios, (principals: Seymour Chwast and Milton Glaser) with whom he worked for six years (1969–75).
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In the 1960s Degen worked as a freelance graphic designer and illustrator with Herbert Leupin, Celestino Piatti, and Fritz Bühler at the Atelier Eidenbenz in Switzerland. In 1970 he moved to New York and worked, besides freelancing as a cartoonist and illustrator for The New York Times, Esquire, Harper's Magazine and The Atlantic Monthly, at the Push Pin Studios with Milton Glaser and Seymour Chwast. After living in Brasil, Peru, Hawaii, Bali, and his return to New York at the end of 1988, Degen moved back to Liestal near Basel in 1990.
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A postal office operated in the community from 12 June 1893 to 15 September 1922. Local farm orchards were known for prize winning apples and pears. Local families such as the Kahler, Miller, and Worthington claimed Elioak as home while they served in World War I. After the war, the name fell out of use. The road from Elioak to Simpsonville was resurveyed in 1820 as part of Charles Carroll's 13,000 acre Doughoregan Manor, with a stone inscription that read, "There stand the beginning trees of Doughoregan, Push Pin and the Girl's Portion".
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There exist three kinds of double locks as described in a Smith & Wesson brochure: ;Lever lock: Movement of a lever on the cuff causes the detent to move into a position that locks the bolt. No tool is required to double lock this type of cuff. ;Push pin lock: A small peg on the key is inserted endwise into a hole to engage the detent. ;Slot lock: These also are actuated with a peg, but in this case it is inserted into a slot and moved sideways to engage the detent.
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Leslie tells Ron to do whatever will make him happy, even if it means giving up the lot. Ron, impressed that anyone would put his own needs before their own, decides instead to break up with Tammy and give the lot back to Leslie. After breaking the news to Tammy off-camera, he leaves the library with a push-pin stuck in his forehead, and part of his mustache missing, and he and Leslie flee the library. The two share a drink, where Leslie encourages Ron to insult Tammy.
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Cotton fabric, late 1960s (USA) The avant-garde art of Milton Glaser, Heinz Edelmann, and Peter Max became synonymous with the flower power generation. Edelman's illustration style was best known in his art designs for the Beatles' 1968 animated film Yellow Submarine. Glaser, the founder of Push Pin Studios, also developed the loose psychedelic graphic design, seen for example in his seminal 1966 poster illustration of Bob Dylan with paisley hair. It was the posters by pop artist Peter Max, with their vivid fluid designs painted in Day-Glo colors, which became visual icons of flower power.
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In an attempt to keep tabs on Cheung and similarly introduce him to their precinct Tung takes Cheung to the disco owned by Fai. There, Cheung meets a madam named Yoyo (whose name in dubbed version is sometimes given as Yo-Yo Ma), who is also Fai's moll. Angry and upset that Fai left on such short notice without her, Yoyo accepts Cheung's overture and the two soon find themselves genuinely in love. In the meantime Fai's eager underling, Push-pin, moves himself into Fai's role and attempts to force Yoyo to peddle customers drugs through her escorts.
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Drawing pin A drawing pin (British English) or thumb tack (North American English) is a short nail or pin used to fasten items to a wall or board for display and intended to be inserted by hand, usually using the thumb. A variety of names are used to refer to different designs intended for various purposes. Push-pin or map pin Thumb tacks made of brass, tin or iron may be referred to as brass tacks, brass pins, tin tacks or iron tacks, respectively. These terms are particularly used in the idiomatic expression to come (or get) down to brass (or otherwise) tacks, meaning to consider basic facts of a situation.
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His work appeared in the exhibition, 'The Push Pin Style' in the Museum of Decorative Arts of the Louvre, Paris, France, as well as numerous cities in Europe, Brazil and Japan (1970–72). In 1975 he traveled to Scotland, where he lived at the Findhorn Foundation commune, then lived in Bienne, Switzerland where he worked with Swiss ceramist, Lou Schmidt, Amsterdam, and Pondicherry, India where he designed the facade of a girls' school residence. From 1979-87 he lived in Boulder, Colorado, where, as creative director, he created trendsetting packaging for Celestial Seasonings Herb Teas, posters for the Colorado Music Festival, and decorative hand crafted furniture for Bunnyville Studios Inc. He returned to Manhattan in (1987–92) where he pursued his career illustrating publications, wrote and designed a book "Wish You Were Here" (Crown Publishing).
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He first set foot into the entertainment industry after winning the 1988 New Talent Awards in Hong Kong alongside another notable Hong Kong singer, Sammi Cheng who was second runner-up. After an unsuccessful stint in the music industry, Patrick was about to give up a career in the entertainment industry when he was approached by a TVB representative thus embarking on a journey into the world of acting. He got his first break when he received the Best Supporting Actor award at the 18th annual Hong Kong Film Awards in 1999 for his role as Push Pin in Beast Cops His next notable achievement was a Best Supporting Actor award at the Taipei Golden Horse Film Festival for his role as Man in Born Wild in 2001.
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He holds that pleasures gained in activity are of a higher quality than those gained passively. Mill defines the difference between higher and lower forms of pleasure with the principle that those who have experienced both tend to prefer one over the other. This is, perhaps, in direct contrast with Bentham's statement that "Quantity of pleasure being equal, push-pin is as good as poetry", that, if a simple child's game like hopscotch causes more pleasure to more people than a night at the opera house, it is more incumbent upon a society to devote more resources to propagating hopscotch than running opera houses. Mill's argument is that the "simple pleasures" tend to be preferred by people who have no experience with high art, and are therefore not in a proper position to judge.
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A novel feature is the grip safety, which locks the trigger and the bolt in the closed position, thus safeguarding against accidental firing if the grip is not held firmly or if the gun is dropped. The safety and fire-selector switch, which in the original Model 12 were two separate push-pin button (with the fire-selector being a button that activated single-fire or burst fire whether it was pushed on the right side or the left side) have been re-engineered in a modern lever-type selector with three positions (S for "Sicura" or Safety, 1 for Single-fire, R for "Raffica" or Burst fire). The fixed firing pin on the face of the bolt can strike the primer only when the cartridge is chambered fully, and this also avoids accidental firing, according to its designers. The PM12S was also designed with easy field-stripping and reassembly in mind, which has been simplified and can be accomplished without tools.
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The pair taught design at Phillip Institute of Technology, Bundoora, under Max Ripper and saved to spend 1974 backpacking, mostly together, in Southeast Asia and Europe. On return to Australia in 1975, the Prahran College friends Izi Marmur and Geoff Cook joined the partners’ freelance studio renaming it All Australian Graffiti (AAG), joined a few months later at 20/562 St Kilda Road, Melbourne by Neil Curtis and Tony Ward (a former lecturer of theirs at Prahran). In 1976 a further addition to the advertising design and illustration cooperative was Meg Williams, who had been taught by Cozzolino and Aslanis at Phillip institute. Their number made the group the largest illustration design studio in Australia at the time, inviting comparison with the US Push Pin Studios. For the promotion of their distinctively Greek-Australian profile, the group designed giveaways in the form of postcards, gingerbread biscuits in the shape of ‘Kevin Pappas’, a poster on an Anzac theme, and one to celebrate the Centenary of The Ashes being played at the Melbourne Cricket Ground in March 1977.
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In September 2017, developer Ken Weinstein outlined a $12 million proposal to redevelop properties in the immediate vicinity of the Station including 32 apartment units at the Max Levy Autograph Co. building, a pocket park on a vacant lot across the street, a 1950s diner, an office building, an artisanal manufacturing site, and a barbecue and brewery. Most of the development is taking place in a restored factory and warehouse structures, making use of the federal Historic Tax Credit program. In July 2018, the Pennsylvania state Historic Preservation Review Board approved the Philadelphia Historical Commission's request to create the Wayne Junction National Historical District, a collection of eight large-scale industrial buildings built between the late-19th and mid-20th century surrounding the Station. The eight properties include the Train Station at 4481 Wayne Avenue, New Glen Echo Mills at 130 W Berkley Street, Brown Instrument Company at 4433 Wayne Avenue, the Max Levy Autograph at 212-220 Roberts Avenue, Arguto Oilless Bearing Company at 149 W Berkley Street, Blaisdell Paper Pencil Company at 137-45 Berkley Street, The Keystone Dry Plate & Film Works / Moore Push Pin building at 113-29 Berkley Street, and 200-10 Roberts Avenue.
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