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On March 1 , 2011 , Rihanna asked fans to help her choose the next single from Loud using Twitter , saying that she would film a music video in the forthcoming weeks . After an influx of suggestions , the singer said she had narrowed the options down to four songs : " Man Down " , " California King Bed " , " Cheers ( Drink to That ) " and " Fading " . On March 12 , she confirmed that " California King Bed " had been selected as the next international single . However , " Man Down " was sent to rhythmic and urban radio stations in the United States on May 3 , before the May 13 release of " California King Bed " , making " Man Down " and " California King Bed " the fifth and sixth singles from Loud . The song was released in France and Switzerland on July 11 and the Netherlands on July 15 . |
Kitty Empire called the track " excellent " , and praised it for being an original composition which is reminiscent of a " righteous old reggae murder ballad " . Consequence of Sound writer Ryan Burleson said that " Man Down " and another album track called " Fading " both " stand on their own sonically " , and that the former is an homage to her Caribbean heritage with its dancehall melody . Describing the track as " breezy " , Bradley Stern thought that no other song on Loud embodied Rihanna 's personality more so than on " Man Down " . Cinquemani chose " Man Down " as the best song on Loud , calling Rihanna 's vocal agility " surprising " and noting that the " fully @-@ fledged reggae " song is co @-@ written by a fellow Barbadian @-@ born singer , Shontelle . |
In her review of Loud , Emily Mackay of NME called its experimentation more " organic " than that on Rihanna 's previous album Rated R ( 2009 ) , citing " Man Down " ' s theme of " doomed youth " . Similarly , Nima Baniamer of Contactmusic.com pointed out that " Man Down " , which she described as " a dark track " that is " haunting " yet " delightfully intriguing " , was reminiscent of the material on Rated R. In their review of Rihanna 's top 20 songs , Time Out ranked " Man Down " as their tenth best track , writing that it is Rihanna at " her badass best " . Complex staff compiled a list of their top 26 Rihanna songs , and ranked " Man Down " in thirteenth place ; Claire Lobenfeld thought that it was the singers most " cinematic " song of her career , and that she elevated the theme of " accidental manslaughter " from " downtrodden " to " adorable " . |
= = Commercial performance = = |
In the United States , " Man Down " debuted on the Billboard Hot 100 at number 94 on June 1 , 2011 , peaking at number 59 and spending a total of 14 weeks on the chart . On the Hot R & B / Hip @-@ Hop Songs chart , it peaked at number 9 on August 6 , 2011 , remaining there for 2 weeks and spending a total of 19 weeks charting . It was number 47 on the Hot R & B / Hip @-@ Hop Songs 2011 year @-@ end list . The track peaked at number 56 on the Hot R & B / Hip @-@ Hop Airplay chart , number 20 on the Hot R & B / Hip @-@ Hop Digital Songs chart and number 40 on the Radio Songs chart . " Man Down " was certified double platinum by the Recording Industry Association of America ( RIAA ) , denoting shipments of more than 2 million units . The song reached number 92 on the Canadian Hot 100 . |
" Man Down " debuted at number 65 on the French Singles Chart on June 6 , 2011 , a month before its release as a single . It rose to number 1 on July 30 , remaining there for 5 consecutive weeks , and was number 2 the week before and for 3 weeks after its chart @-@ topping run . It stayed on the chart until May 12 , 2012 , but re @-@ entered three weeks later . The song , on and off the French chart for the rest the year , continued to appear on it sporadically in 2013 . After a total of 73 weeks on the chart , the track 's last French chart appearance was at number 172 on August 8 , 2013 . |
In the United Kingdom , " Man Down " entered the Singles Chart at number 117 on June 11 , 2015 , reaching number 75 the following week . The song peaked at number 54 in its fourth week , remaining there for 2 weeks and spending a total of 11 weeks on the chart . On the UK R & B Chart , " Man Down " reached number 15 on June 26 , spending 18 weeks in the top 40 . In Belgium , the song peaked at number 3 in Dutch @-@ speaking Flanders and number 2 in French @-@ speaking Wallonia . It was certified gold by the Belgian Entertainment Association ( BEA ) for selling more than 15 @,@ 000 copies . Although the song spent only 1 week on the Italian Singles Chart ( at number 8 ) , it was certified platinum by the Federazione Industria Musicale Italiana ( FIMI ) in 2014 for selling more than 30 @,@ 000 copies . |
= = Music video = = |
= = = Background and synopsis = = = |
Anthony Mandler directed the music video for " Man Down " in April 2011 on a beach in Portland Parish , on the northeastern Jamaican coast . Rihanna told Rap @-@ Up that the video has a " strong underlying message [ for ] girls like me ! " On May 1 , 2011 , three camera phone teaser photos , of Rihanna on a beach in a white Dolce & Gabbana dress and riding a bicycle in Portland Parish , were released . The music video premiered on BET 's 106 & Park on May 31 , 2011 . In an interview for MTV News , Mandler said that " Man Down " required " a strong narrative and visual " and that fans could expect something " dramatic and shocking and intense and emotions and uplifting and enlightening " . |
The video opens as the protagonist ( Rihanna ) shoots and kills a man while he walks through a busy train station . She flees before a flashback to the previous day , when she rides her bike , meets friends and is alone in a bedroom at dusk . At a nightclub the protagonist dances and flirts with another club @-@ goer , who then attacks her when she leaves the club . Disheveled , the woman cries in the street after an implied sexual assault , and the video ends as she runs home to grab a gun hidden in a dresser drawer . |
= = = Analysis and reception = = = |
Janell Hobson analysed the imagery presented in the video for " Man Down " in her book Body as Evidence : Mediating Race , Globalizing Gender , which " challenges postmodernist dismissals of identity politics and the delusional belief that the Millennial era reflects a ' postracial ' and ' postfeminist ' world . " In the chapter titled " Disclosures : Black Women 's Resistance to Sexual Violence " , Hobson explores how black women have " found the courage " to speak out about sexual violence , protest against it and not remain a silent victim . She recalled Rihanna 's interview for 20 / 20 with Diane Sawyer , which aired on November 6 , 2009 . Having remained silent about her altercation with Brown on the evening of the Grammy Party in February that year , whereby Brown assaulted her , Rihanna decided to speak about it for the first time . The author noted how Sawyer decided to approach the interview by presenting the couples relationship and assault case as an " anomaly " and accused Rihanna of " projecting a ' fake ' imagery of strong black woman " , rather than presenting her another domestic violence victim not only in the United States , but in the world . " I am strong , " Rihanna responded . Hobson wrote that from then on , the singer decided to project an image of " hardcore masculinity and dominatrix @-@ type femininity in her music trajectory " . |
Subsequently , several of Rihanna 's songs and music videos have courted controversy for their violent themes , which Hobson attributes to the leaking of a photo showing the singers " battered face " on the evening of the assault by TMZ which circulated the internet without the permission of Rihanna . Hobson writes : " Because of this , Rihanna has had to wrest back control of the ' victim ' image foisted on her , and she in turn has challenged us rhetorically and visually to question and examine the power , danger , and violences that shape our relationships . " She continued to highlight the music videos for " Russian Roulette " , " Hard " , " We Found Love " , " Love the Way You Lie " with Eminem which documents domestic violence , and " S & M " , which contains references to bondage and fetishism and is , in part , Rihanna 's response to disparaging critics , as examples . At one point in the video for " S & M " , Rihanna is literally tied up as a victim . |
However , Hobson noted that Rihanna " rejects the victim stance " in the video for " Man Down " , and elucidated that she played the role of a rape survivor who shot her attacker . She attributed the location of shooting the video in Jamaica as significant , due to how the image of a gun proliferated during 1990s Jamaican dance hall 's to " express female rage " . The prologue depicts Rihanna as a " dark @-@ hooded " femme fatale whereby the narrative explains her motives for murder and provokes the spectator to sympathize with her because she danced in a provocative manner with a man in a club , which Hobson suggests is " somehow deserving of rape " . She continued to explain that Rihanna is inviting the audience to consider what justice means by " pointing both a literal and lyrical gun at the issue " . Hobson concluded that Rihanna is protecting her vulnerability and countering the image of the abused black woman who is looked at unsympathetically in society . |
Beck Bain of Idolator described the video as " visually stunning " , while Metro writer Lee Ann labelled it as " shocking " . Co @-@ writer of " Man Down " Theron Thomas felt that the video was very theatrical and that Rihanna played her role " perfectly " . He continued to say that had the video been a lyric @-@ by @-@ lyric representation , the narrative would have been more " graphic " . |
= = = Controversy = = = |
The Parents Television Council ( PTC ) criticized Rihanna for her portrayal of " cold , calculated execution of murder " in the music video , and argued that murdering a rapist as socially @-@ acceptable justice is impermissible . The group disagreed with Rihanna 's rationale for the storyline : that the video has " a very strong underlying message [ for ] girls " like Rihanna . According to the PTC and Industry Ears , if Chris Brown murdered a woman in a video that premiered on BET " the world would stop " and Rihanna should not have been allowed to release her clip . The week before the council 's statement about the video it had objected to Rihanna and Britney Spears ' performance of the " S & M " remix at the Billboard Music Awards , having called it a " profanity @-@ laced , S & M sex show on prime @-@ time broadcast television " . |
After the PTC 's statement , Julianne Escobedo Shepherd of AlterNet wrote that the group seemed to employ a double standard ; it had not condemned Kanye West 's music video for " Monster " , in which dead women hang from ceilings and West holds a decapitated head . Shepard added that Eminem and Rihanna 's video for " Love the Way You Lie " had not been criticized , despite " glorified and romanticized " domestic violence . A Mothers Against Violence spokesperson criticised Rihanna for failing to present a solution , rather than encouraging the vulnerable youth , for which rape is a reality for many people . Director Anthony Mandler addressed the controversy in an interview for The Hollywood Reporter , saying that the visual evoked the reaction he intended and that it highlighted an issue still taboo in modern society . He recalled growing up in an era in which artists such as Madonna released controversial music videos , and noted that contemporary videos no longer tackle taboo subjects as frequently . |
Rihanna responded to the PTC 's criticism on Twitter , and said that parents should not expect her to parent their children and that " touchy subject matters " should not be hidden from children otherwise they will not learn how to adapt in society , and that it empowers abusers even more because children are embarrassed to talk about rape . The singer continued to state that " the industry isn 't ' Parent 's ' R Us ' " and that singers " have the freedom to create art " . In an interview for BET , Rihanna further explain why rape was used as the vehicle to push the story forward in the video despite the lyrics not mentioning rape , saying " Making that into a mini @-@ movie or video , we needed to go back to why it happened . Obviously she 's not a cold @-@ blooded killer . It had to be something so offensive . And we decided to hone in on a very serious matter that people are afraid to address , especially if you 've been victimized in this scenario . " Rihanna added that the character is remorseful for her actions . |
Actress and women 's @-@ health advocate Gabrielle Union , a rape victim , voiced support for the video on Twitter . Union called it " brave " and , although she did not agree with the eye @-@ for @-@ an @-@ eye sentiment , she could relate to the situation . Union said that every rape victim or survivor is a unique situation , and that they all have an idea of how justice should be served . She admitted that she tried to shoot her rapist , but missed , and that she has since realised that committing murder as a form of justice for herself would not have made the situation better . She continued to say that while it is " understandable " to desire to kill a rapist , unless it is in self @-@ defense then it is not advisable . |
= = Live performances and covers = = |
Rihanna has included " Man Down " on the set lists of several concerts and tours , including the 2011 Loud Tour , BBC Radio 1 's Hackney Weekend on May 24 , 2012 and the 2013 Diamonds World Tour . For the Loud Tour , Rihanna performed the song on " a levitating , rotating platform , a conveyer belt and graffiti @-@ laden car shell . " Although Kitty Empire described " Man Down " as " terrific " , the critic felt let down by the " baffling lack of creativity " from Rihanna 's production team for the stage set up during Rihanna 's performance . She wrote that she did not understand why a truck bonnet was in the middle of the stage . Maza praised the tracks placement on the set @-@ list . " Man Down " was performed as the fourth song on the Loud Tour , following its opener " Only Girl ( In the World ) " , " Disturbia " and " Shut Up and Drive " . Maza noted that the tempo of " Man Down " should have " slowed down the momentum she 'd accumulated until then but that was instead an ideal marriage of production and performance . " Instead , the red lights on the stage played up the " ominous " tone of the song as it gradually increased its tempo to the point whereby the end of the song was on the verge of sounding like an incantation . |
For the Diamonds World Tour , Rihanna performed " Man Down " in a Caribbean @-@ theme section of the show , which also included " You da One " , " No Love Allowed " , " What 's My Name ? " and " Rude Boy " . James Lachno of The Telegraph highlight the Caribbean @-@ themed section as the show 's highlight . Manchester Evening News writer Katie Fitzpatrick commented that Rihanna transported the audience to the Caribbean with a " grinding groove " . However , Gary Graff of The Oakland Press was disappointed with the lack of variety in the section , writing that it was " addled by a sonic sameness , even with Nuno Bettencourt of Extreme , whose guitar was buried in the bass @-@ heavy mix , playing some intriguing licks and accents " . |
British singer and songwriter Leona Lewis performed a mashup of " Man Down " with her 2008 single " Better in Time " at BBC Radio 1 's Live Lounge in June 2011 . She also included the mashup on the set list of her 2013 Glassheart Tour . Her rendition received a mixed response from critics . Katherine Hollisey @-@ McLean of the Worthing Herald complimented the fusion of " Better in Time " with reggae beats . But The Guardian 's Malcolm Jack thought the performance was cringeworthy and called Lewis a " reasonably priced Rihanna " . |
= = Charts = = |
= = Certifications = = |
= = Release history = = |
= Marauders ( Star Trek : Enterprise ) = |
" Marauders " is the sixth episode of the second season of the American science fiction television series Star Trek : Enterprise , the 32nd episode overall . It first aired on October 30 , 2002 , on the UPN network within the United States . The story was created by executive producers Rick Berman and Brannon Braga with a teleplay by David Wilcox . A similar premise had been included in the original pitch for Star Trek by Gene Roddenberry . |
Set in the 22nd century , the series follows the adventures of the first Starfleet starship Enterprise , registration NX @-@ 01 . In this episode , while in search of deuterium , Enterprise discovers a mining colony that is being controlled by Klingons who are bullying the inhabitants and hoarding their supplies . The crew conduct repairs on the colony and train the colonists to fight off the Klingons . |
This episode was mostly filmed on location in a quarry in Ventura County , California , and the majority of the guest stars were stunt performers . Both Larry Cedar and Bari Hochwald had previously appeared in different episodes of Deep Space Nine and Voyager . " Marauders " was watched by 5 @.@ 6 million viewers , the second highest audience for an episode of the second season . Reviews were mixed , with some critics responding negatively to the lack of consequences from the fighting sequences while another praised the characters interactions and felt it was a good example of the western genre . |
= = Plot = = |
Captain Jonathan Archer ( Scott Bakula ) , Sub @-@ Commander T 'Pol ( Jolene Blalock ) , and Commander Charles " Trip " Tucker III ( Connor Trinneer ) fly down to a small colony of 76 miners in order to trade for deuterium . They initially try to barter with Tessic ( Larry Cedar ) , the colony 's leader , but he appears reluctant to part with any of the 80 @,@ 000 liters in inventory , which is being held for ' someone else ' . After negotiations however , a deal is struck − 200 liters of deuterium for four power cells and whatever medical supplies Enterprise can spare , on the proviso that the Enterprise crew can fix two offline pumps in two days . |
Despite deuterium being a valuable commodity , Archer is startled by the lack of basic medical supplies and the run @-@ down nature of the colony . The reason becomes apparent when seven Klingons show up to collect deuterium according to their ' regular arrangement ' . When Tessic informs Korok ( Robertson Dean ) , the leader of the Klingons , that they do not have all the deuterium because two pumps were not working , Korok hits him and gives them four days to meet the order . Later , when Tucker and Archer attempt to talk them into fighting against the Klingons , Tessic tell them to take their 200 liters and leave . However , leaving does not sit well with Archer and he convinces the leader to resist with their support . |
On Enterprise , T 'Pol teaches some of the colonists how to evade edged @-@ weapon attacks ( from Vulcan martial @-@ art ' Suus @-@ mahna ' ) , while Ensign Hoshi Sato ( Linda Park ) and Lieutenant Malcolm Reed ( Dominic Keating ) teach other colonists how to fire their weapons more accurately . Archer and Tucker then suggest the colonists shift the entire colony to the south 50 meters . When the Klingon marauders arrive , the colony appears deserted and silent . Finally the defenders show themselves , and in the ensuing fight the Klingons are lured into an area surrounded by the capped @-@ off deuterium well heads . On cue , the wells are ignited , surrounding the Klingons with flames . Tessic then tells the Klingons to leave and never come back . After they depart , Archer is rewarded with 2 @,@ 000 liters of deuterium by the grateful miners . |
= = Production = = |
The initial pitch for Star Trek : The Original Series by Gene Roddenberry included a similar episode premise called " Kentucky , Kentucky " . This story would have had Captain Robert M. April and the crew of the S.S. Yorktown visit a human colony which had been previously attacked by Viking @-@ like aliens . This resulted in the colonists reverting in appearance to that seen during the American frontier @-@ era . April and his crew band together to help the colonists fight off the aliens . |
Executive producers Rick Berman and Brannon Braga developed the story , which was turned into a teleplay by David Wilcox . It was directed by Mike Vejar , his fourth episode of the series , although he had also developed several more episodes of the other series in the franchise . Filming on " Marauders " began on August 21 , 2002 , utilising the standing ship sets . The shoot on the following day mostly took place on a sound stage , while the third day 's on set filming used the shuttlepod set as well as a newly created ship 's gym set . The remainder of the eight days filming took place on location at a quarry in Ventura County , California , located about an hour 's journey north west of Los Angeles . Temperatures were mild for that time of year , but the actors were still told to wear sunscreen and drink plenty of water . The actors portraying the Klingons joined on the second of the five days on location , with the majority of them played by stunt men . According to Bakula , the set used for the colony was the largest build so far for Enterprise . |
Robertson Dean played the sole speaking Klingon , he had previously appeared in the Star Trek : The Next Generation episode " Face of the Enemy " . Other members of the guest cast included Cedar , portraying the colonist Tessic , who had previously appeared in individual episodes of both Star Trek : Deep Space Nine and Voyager . Likewise , Bari Hochwald also appeared in those two series . While appearing in " Marauders " , she was also performing in the play Fedunn at the Odyssey Theatre in Los Angeles . |
= = Reception and home media = = |
" Marauders " was first broadcast on the UPN network within the United States on October 30 , 2002 . It was watched by 5 @.@ 6 million viewers , equating to Nielsen ratings of 3 @.@ 9 / 6 percent . This meant that the episode was watched by 3 @.@ 9 percent of possible viewers , and six percent of those watching television at the time . This was the second most watched episode of the season , behind " A Night in Sickbay " , which was broadcast a week prior . |
J.C. Maçek III , while writing for the website PopMatters , described " Marauders " as forming the first part of a loose trilogy of episodes within the second season focusing on re @-@ introducing the Klingons to the series . The following episodes in the group were said to be " Judgment " and " Bounty " . Jamahl Epsicokhan at his website " Jammer 's Reviews " gave the episode two out of four , said that there was nothing exciting in " Marauders " and that the action sequences towards the end were unrealistic because despite all the apparent violence , not a single person even gets injured during the scene . He called the general premise " classic trek " , but that it lacked depth and didn 't pose any interesting questions . He summed it up by saying it was " a bloodless , light @-@ as @-@ a @-@ feather action show with handsome production values but absolutely and positively no edge . " |
Michelle Erica Green , reviewing the episode for TrekNation , said that the episode seemed to follow the same story as the 1998 animated film A Bug 's Life , but was very much set in the western genre which inspired Roddenberry 's original Star Trek pitch with other comparisons to the 1960 film The Magnificent Seven . She felt that there was several scenes which enabled some character building moments for Hoshi , Travis Mayweather and Tucker , and described it overall as " a decent genre piece with good character work " . |
The first home media release of " Marauders " was part of the season two DVD box set , released in the United States on August 7 , 2005 . A release on Blu @-@ ray Disc for season two occurred on August 20 , 2013 . |
= Johnny McNichol = |
John " Johnny " McNichol ( 20 August 1925 – 17 March 2007 ) was a Scottish footballer who played more than 500 games in the Football League in England . An inside forward , he played more than 150 games for Brighton & Hove Albion and more than 200 for each of Chelsea and Crystal Palace . |
McNichol graduated from junior footballer and apprentice motor mechanic in his native Scotland to a professional contract with English First Division club Newcastle United . After two years , he had found success with the reserve team but was never selected in the first eleven . Brighton & Hove Albion , struggling in the Third Division , broke their transfer record to sign him . McNichol spent four years with the club , acquiring " the reputation as the finest inside @-@ forward in the Third Division " , before moving to the First Division as Chelsea manager Ted Drake 's first signing . He was part of the Chelsea team that won the League championship in the 1954 – 55 season . In 1958 he joined Crystal Palace , whom he captained to promotion from the Fourth Division , and finished his on @-@ field career in the Southern League as player @-@ manager of Tunbridge Wells Rangers . He then spent 25 years working on the commercial side of football with two of his previous clubs . |
= = Early life and career = = |
McNichol was born in Kilmarnock , Ayrshire . His father , Danny , died when he was five , so McNichol and seven siblings were raised by their mother , Catherine . He attended St Joseph 's School in Kilmarnock , and started work as a messenger boy for a local draper 's shop when he left school . His shop work stopped him playing football on Saturdays , but he was able to play some midweek football for Junior club Hurlford United . When he was taken on at the local bus garage as an apprentice motor mechanic , he became available on Saturdays as well . Hurlford paid him ten shillings a game , nearly as much as his apprentice 's wages . During the Second World War , McNichol was called up to the Fleet Air Arm as a mechanic , but was able to play friendly matches for Inverness @-@ based club Clachnacuddin . Because of the number of professional players stationed around the country , such matches were played at a fairly high standard . |
= = Newcastle United = = |
After the war , McNichol returned to Hurlford , but , amid interest from other clubs , he accepted a trial with Newcastle United . After two trial matches , he signed professional forms with the club on his 21st birthday . McNichol spent two years at Newcastle , but never made a first @-@ team appearance . Behind the likes of England international forwards Roy Bentley and Len Shackleton in the pecking order , he doubled his income working as a motor mechanic for a local funeral director whose " two or three Rolls @-@ Royces [ made ] a nice change from working on bus engines " . In his second season , he was part of the reserve team that won the Central League title , but a disagreement over personal terms on his contract renewal – the Newcastle management felt a lower wage was justified because of the player 's earnings outside the game – prompted McNichol to seek first @-@ team football elsewhere . |
= = Brighton & Hove Albion = = |
Brighton & Hove Albion had finished bottom of the Third Division South the season before and were struggling financially , yet manager Don Welsh persuaded the directors to break the club transfer record by paying £ 5 @,@ 000 for a player yet to make his debut in the Football League , and persuaded McNichol to sign . He made his first appearance in the League on 21 August 1948 , at the age of 23 , as Brighton drew with Swindon Town at home . The club finished sixth in the division in McNichol 's first season and eighth , despite having no regular goalscorer – McNichol 's nine goals made him top scorer – in 1949 – 50 . The next year , McNichol played in all of Brighton 's games , the only man so to do , and again finished as top scorer for the season , this time with 14 goals . According to Carder and Harris , he " had a superb season with a brand of play which won him the reputation as the finest inside @-@ forward in the Third Division " . Appointed club captain when Billy Lane took over from Welsh as manager , McNichol flourished under Lane 's attacking policy . He scored 14 goals in the 1951 – 52 season as Brighton narrowly failed to mount a successful challenge to Plymouth Argyle for the title , " was again the star of the side " , and " was thought by many to be the most stylish inside @-@ forward to play for the Albion " . |
That season , McNichol scored a hat @-@ trick against eventual runners @-@ up Reading , which caught the eye of manager Ted Drake . Shortly before the next season started , he became Drake 's first signing for his new club , Chelsea , at a fee of £ 12 @,@ 000 plus the player Jimmy Leadbetter , a club record fee received for Albion . He had scored 39 goals in all competitions from 165 appearances . Although scouts from bigger clubs had been watching the player since soon after his arrival at the club – he had apparently already turned down moves to Manchester City , Everton and Huddersfield Town – Brighton 's supporters were disappointed , seeing his sale as a backward step . |
= = Chelsea = = |
On his Chelsea debut away at Manchester United , McNichol found himself playing at right back after ten minutes when Sid Tickridge sustained an injury . Once restored to the forward line , his goals helped Chelsea avoid relegation to the Second Division at the end of his first season . A " dramatic last @-@ minute goal ... enabled Chelsea to snatch a lucky victory at West Bromwich " with three games left , and he scored the third goal of Chelsea 's 3 – 1 defeat of Manchester City in their last fixture of the season which confirmed their escape from the relegation positions . |
Two seasons later , Chelsea won the First Division title for the first time . As they beat Charlton Athletic in March 1955 to " maintain their challenging position in the Championship " , The Times ' reporter described how " McNichol filled the role of general , and was instigator of many dangerous movements " . Two weeks later , McNichol , " the most effective of their forwards " , scored twice as a Chelsea team displaying " a propensity to play the man in preference to the ball " beat Tottenham Hotspur 4 – 2 , and the title was confirmed with one game still to play . McNichol had missed only two games in the 42 @-@ game season , and scored 14 goals , a good return for a player in his position ; an inside forward was normally more a creator than a scorer of goals , but his profile on Chelsea 's website describes him as " clever , astute and most of all a clinical finisher " . |
He stayed at the club for three more seasons , but later lost his place in the side to the young Jimmy Greaves : " There was no disgrace in losing my place to him . I couldn 't grumble about that . We used to get on very well , and he would listen to the instructions I gave him . Then he became world famous ! " The respect was mutual : though Greaves described the Chelsea title @-@ winning side as " almost certainly one of the least talented teams ever to win the title " , he made an exception for McNichol , " the ball player of the team " . In all competitions , he made 202 appearances for Chelsea and scored 66 goals . |
While at Brighton , McNichol had worked in a local garage , wanting to keep up his skills in case injury put an early end to his football career . When he joined Chelsea , his decision to remain living in the area had upset Drake . In addition , he bought a newsagent 's shop in Hove , so not only did he have to travel by train from the south coast – as did teammates Stan Willemse and Eric Parsons – he further annoyed the Chelsea management by getting up even earlier each morning to open the shop before coming in to training . His wife Connie , whom he had known since childhood , ran the business in his absence . He claimed to have " earned more working in that shop than playing for Chelsea . Even in that championship season . " |
= = Crystal Palace = = |
Just ahead of the transfer deadline in March 1958 , McNichol signed for Third Division South club Crystal Palace . He was expected to fill a role " similar to the one he has performed so well at Stamford Bridge – helping in the development of promising young forwards " , and was appointed captain . He scored on his debut for the club , and produced seven goals from the twelve games he played in what remained of the 1957 – 58 season . By October 1958 , manager George Smith felt the player was feeling the strain of his dual role , so relieved him of the captaincy . As McNichol grew older , his playing position became more defensive , as he became first a wing half , then a full back . Palace had been placed in the Fourth Division when the Football League structure was reorganised on national lines prior to the 1958 – 59 season , and McNichol , long since restored to the captaincy , led them to promotion to the Third Division in 1961 , their first promotion for 40 years . Soon afterwards , he applied for the managerial post at former club Brighton & Hove Albion , then in the Second Division , but was unsuccessful . A broken arm suffered in August 1961 forced McNichol to miss a Palace match for the first time in a three @-@ and @-@ a @-@ half @-@ year club career . He played on for two seasons , but his professional career was brought to a close by facial injuries , a fractured cheekbone and broken jaw , sustained during the 1962 – 63 season . In all competitions , he scored 15 goals from 205 appearances . |
= = Later life and career = = |
McNichol remained in the South of England , spending four years as player @-@ manager of Tunbridge Wells Rangers in the Southern League . Having sold the newsagents , he returned to Crystal Palace to work in the commercial side of the game , where he was responsible for the establishment of weekly pools and bingo competitions as a means of raising funds for the club . He moved back to Brighton & Hove Albion to occupy a similar role from 1979 to 1992 , and after retirement continued to live in the Saltdean area of Brighton . |
Despite the successes of his career , McNichol had regrets . He described Chelsea 's decision not to accept their invitation to participate in the inaugural season of the European Cup as his " one big disappointment " , and " thought it was strange at the time " , despite the national team selectors ' preference for players plying their trade for Scottish clubs , that he was never chosen to represent his country . |
McNichol retained contact with his previous clubs . One of 24 former players and managers nominated as " Albion Legends " as part of Brighton 's centenary events in 2001 , he took an active role in the celebrations . The surviving members of Chelsea 's 1955 title @-@ winning team used to meet for an annual dinner , and were guests of the club at the last match of the 2004 – 05 season as they celebrated their second League title , 50 years after the first . |
He died of a stroke on 17 March 2007 at the age of 81 . |
= = Honours = = |
Newcastle United Reserves |
The Central League winners : 1947 – 48 |
Chelsea |
Football League First Division winners : 1954 – 55 |
Crystal Palace |
Football League Fourth Division runners @-@ up : 1960 – 61 |
= Otra Nota = |
Otra Nota ( English : Another Note ) is the debut album by American singer Marc Anthony that was released on January 26 , 1993 , by RMM Records . Produced by Sergio George , it was the first album by Anthony to record in salsa after starting his career as a freestyle musician . Recording of the album began after Anthony asked RMM president Ralph Mercado to record Juan Gabriel 's " Hasta Que Te Conocí " in salsa after hearing it on the radio during a taxi ride . Recorded on a low budget , the album peaked at No. 2 on the Billboard Tropical Albums chart and reached No. 30 on the Billboard Top Latin Albums chart . |
The album was well received by critics who complimented George 's production and Anthony 's youthful voice . Anthony received two awards for " Best New Artists " at the Billboard Latin Music Awards and the Lo Nuestro Awards . The album produced three singles : " Hasta Que Te Conocí " , " Palabras del Alma " , and " Si Tú No Te Fueras " , all of which charted on the Billboard Hot Latin Songs chart . As of 2002 , Otra Nota has sold over 300 @,@ 000 copies . |
= = Background = = |
Marc Anthony began his recording career in 1980s as a freestyle musician during which he was a backup vocalist for boy bands such as Menudo and the Latin Rascals . Anthony also wrote songs for his school friend Sa @-@ Fire , including " Boy I 've Been Told " which became a hit on the Billboard Hot 100 chart . Anthony got his start as a lead vocalist when he collaborated with Little Louie Vega on the album When the Night Is Over . The lead single " Ride on the Rhythm " became a number @-@ one hit on the Billboard Hot Dance Club Songs chart . |
RMM manager Ralph Mercado invited Anthony to record a salsa album , but Anthony declined the offer due to a lack of interest to record in Spanish . The following day , while in a taxi , Anthony was listening to Juan Gabriel 's song " Hasta Que Te Conocí " ( " Until I Met You " ) on the radio and was motivated to record in the song in salsa and told Mercado about his change of decision . Mercado introduced Anthony to Sergio George who would produce the album . According to George , the album was an " total experiment " , citing that it was on low budget , recorded with one musician at a time without a band , and the full production was done on computers while George handled the keyboards . |
= = Music and lyrics = = |
The album includes five compositions and three cover songs . The lead track " Palabras del Alma " ( " Words from the Soul " ) is a cover originally performed and written by Ilan Chester . " Si Tú No Te Fueras " ( " If You Would Not Leave " ) was composed by Nelson Frank and Jaime Gutierrez . " Hasta Que Te Conocí " was first performed and written by Juan Gabriel . " El Último Beso " was composed by Anthony 's father Felipe Muñíz . " Make It With You " is a cover of American band Bread 's song . " Necesito Amarte " was written by Luis Castillo who composed songs for RMM recording artists including José Alberto and Tito Nieves . Sergio George co @-@ wrote " ¿ Juego O Amor " ( " Game or Love ? " ) along with Adam Sez . The final track , " Si He de Morir " ( " If I Were to Die " ) was composed by Luis Díaz . |
= = Commercial reception = = |
Otra Nota debuted and peaked at No. 2 on the Billboard Tropical Albums chart during the week of April 17 , 1993 , behind Jerry Rivera 's Cuenta Conmigo and remained at this position for eight weeks . During the week of June 11 , 1994 , the album debuted and peaked at No. 30 on the Billboard Top Latin Albums , where it spent nineteen weeks on the chart . Otra Nota has sold over 300 @,@ 000 copies as of 2002 . |
= = = Singles = = = |
" Hasta Que Te Conocí " was the first single to be released from the album and peaked at No. 13 on the Billboard Hot Latin Songs chart . The second single " Palabras del Alma " peaked at No. 15 on the Billboard Hot Latin Songs chart . " Si Tú No Te Fueras " was the last single released from the album which peaked at No. 31 on the Billboard Hot Latin Songs chart . |
= = Critical reception = = |
Evan Gutierrez of Allmusic gave the album 3 @.@ 5 out of 5 stars and complemented Anthony 's voice as " developed , unique , and individual " and felt that Anthony 's debut " brought quality and passion to his listeners from the beginning . " Gutierrez also found the songs in salsa enjoyable while calling the ballads . Gutierrez praised Sergio George 's arrangements as " outstanding " though he felt the production was outdated in places . Enrique Lopetegui gave the album 3 out of 4 stars , noting that while Anthony was viewed with skepticism on the salsa market , he felt that Anthony " may be the best of the many newborn salseros . " Lopetegui also praised Anthony 's vocals as " excellent " and described the overall album as " noble effort " though he criticized Anthony 's cover of " Make It With You " as unnecessary . In 1994 , Anthony received a Billboard Latin Music Award for " Tropical / Salsa New Artist of the Year " and a Lo Nuestro award for " Tropical - New Artist of the Year " . |
= = Track listing = = |
= = Credits and personnel = = |
The following credits are from Allmusic . |
= = = Performance credits = = = |
= = = Technical credits = = = |
= = Chart performance = = |
= St Peulan 's Church , Llanbeulan = |
St Peulan 's Church , Llanbeulan is a disused medieval church in Llanbeulan , in Anglesey , north Wales . The nave , which is the oldest part of the building , dates from the 12th century , with a chancel and side chapel added in the 14th century . The church has a font of early date , possibly from the first half of the 11th century : one historian has said that it would initially have been used as an altar and that " as an altar of the pre @-@ Norman period it is a unique survivor in Wales and , indeed , in Britain " . |
The church is now redundant and has been in the care of the charity , the Friends of Friendless Churches since 2005 . It is a Grade II * listed building , a designation given to " particularly important buildings of more than special interest " , because it is a medieval church of " typical Anglesey type " that has retained its simple character despite 19th @-@ century alterations . |
= = History and location = = |
The date of foundation of the church in Llanbeulan is not known for certain , although it is said that a church was founded on this site in 630 by St Peulan . He was a disciple of the Anglesey saint Cybi . The earliest parts of the building date from the 12th century . It was the parish church of the area , and had a chapel of ease at St Mary 's Church , Tal @-@ y @-@ llyn ( now also closed ) . In November 1349 , records of an inquisition in Beaumaris show that the priest serving St Peulan 's was one of a number of Anglesey clergymen to have died about that time , which was when the Black Death was affecting Anglesey . During the 19th century , a significant amount of church rebuilding and restoration work took place throughout Anglesey , and St Peulan 's was given a new roof and new internal fittings at this time . It is now a redundant church and has been in the hands of the Friends of Friendless Churches since 2004 ; it is one of four churches on Anglesey for which the charity has responsibility . The charity holds a 999 @-@ year lease with effect from 10 June 2005 . |
The church gave its name to the parish of Llanbeulan : the Welsh word llan originally meant " enclosure " and then " church " , and " ‑ beulan " is a modified form of the saint 's name . It is in a thinly populated part of rural Anglesey , about 1 @.@ 75 kilometres ( 1 @.@ 09 mi ) to the south @-@ west of the village of Gwalchmai , and about 3 kilometres ( 1 @.@ 9 mi ) to the south @-@ east of Bryngwran . A grassed track runs from the road to the church . To the east of the church , the churchyard contains a war grave of a Royal Welsh Fusiliers soldier of the First World War . |
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