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Each row shows a grey-scale image of the Spitzer 3.6 #8201; #956;m observations, superimposed with grey contours indicating the 1.4 #8201;GHz observations and black contours showing the 4.8 #8201;GHz (left panel) and 8.6 #8201;GHz (middle panel) observations. The IFRS are always the sources at the image centres. Contours start at 3 #963; and increase by factors of 2. The 1.4 #8201;GHz restoring beam and the 4.8 #8201;GHz/8.6 #8201;GHz restoring beams, which are the same size, are indicated with ellipses in the lower left corners of the images. The right panel shows the flux density measurements available for a source and 3 #963; upper limits where no detection was made (indicated with arrows). The solid line indicates the best available spectral index, and dashed lines indicate a power-law with an index 1 #963; larger and 1 #963; smaller than determined by the data. We note that all sources have a signal-to-noise ratio of more than 9 in the 1.4 #8201;GHz observations, so there is no doubt that they are real sources and not spurious.
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Having spent 3 seasons in regional repertory theatre, my self-imposed apprenticeship paid off. I was growing in confidence professionally and had been noticed by the national press during the Nottingham inaugural season. Then the indispensible bit of luck struck. Michael Codron needed a young actor (and I daresay a cheap one) for his latest production in London, a new play, 'A Scent of Flowers' by James Saunders. I was recommended and, without an audition, was hired for my West End debut.
London theatre is a small world and without a break other work followed, beginning with Laurence Olivier's new National Theatre Company at the Old Vic Theatre and followed by some showy parts in plays old and new. Four years after Nottingham, my name had been in lights on Shaftesbury Avenue and I had made an inglorious Broadway debut. #8212; Ian McKellen, October 1999
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