Player
Born in Stirling, Ryan started his career with Cowie Hearts. At the age of 17, he was spotted by a scout and invited for an initial two-week trial with English club Manchester United. The trial was extended to a month and Ryan signed as an apprentice with the club on 7 December 1962. A month later, he signed his first professional contract, but it was not until May 1966 that he made his first-team debut, playing on the right wing in the final four league games of the 1965–66 season. He scored his first goal in the third of those games, the third goal in a 6–1 home win over Aston Villa.
He played for Manchester United for four more seasons and was part of the team that won the 1966–67 Football League and 1967–68 European Cup. However, being in competition for a position with George Best (among others) meant that his appearances were limited and he left the club for Luton Town in 1970, along with Don Givens. In five seasons with Manchester United, he played 27 times and scored four goals. He played for Luton Town until 1976, when he left to play four seasons in the North American Soccer League with the Dallas Tornado. In 1979, the NASL players decided to strike for better pay, but Ryan was the only Tornado player to honor the strike. At the end of the 1979 season, Ryan moved to the Wichita Wings of the Major Indoor Soccer League where he finished his career with three indoor seasons.
Read more about this topic: Jimmy Ryan (footballer Born 1945)
Famous quotes containing the word player:
“The flattering, if arbitrary, label, First Lady of the Theatre, takes its toll. The demands are great, not only in energy but eventually in dramatic focus. It is difficult, if not impossible, for a star to occupy an inch of space without bursting seams, cramping everyone else’s style and unbalancing a play. No matter how self-effacing a famous player may be, he makes an entrance as a casual neighbor and the audience interest shifts to the house next door.”
—Helen Hayes (1900–1993)
“There has been in our time a lack of reliance on language and a lack of experimentation which are frightening to anyone who sees them as symptoms. We know the phenomenon of stage-fright: it holds the player shivering, incapable of speech or action. Perhaps there is an audience-fright which the play can feel, which leaves him with these incapacities.”
—Muriel Rukeyser (1913–1980)
“The best chess-player in Christendom may be little more than the best player of chess; but proficiency in whist implies capacity for success in all these more important undertakings where mind struggles with mind.”
—Edgar Allan Poe (1809–1845)