Some context: Stuart Pearce, MBE (born 24 April 1962) is an English football manager and player. He is an assistant manager to David Moyes at West Ham United. Pearce was the manager of the England national under-21 team from 2007 to 2013 and also managed the Great Britain Olympic football team at the 2012 Olympics. As a player, Pearce played as a defender and appeared for Wealdstone, Coventry City, Newcastle United, West Ham United and Manchester City, but is best known for his spell at Nottingham Forest, where he regularly captained the team and became the club's most capped International, making 76 of his 78 appearances for England while with the club and captaining the national side on nine occasions.
Pearce joined Newcastle United along with fellow veterans John Barnes and Ian Rush in the 1997-98 season under Kenny Dalglish, and played in the 1998 FA Cup final, though again he emerged on the defeated side. He scored once during his spell at Newcastle, in a UEFA Champions League tie against Dynamo Kyiv. Eventually Pearce was isolated, along with other players including Rob Lee and John Barnes, upon Dalglish's sacking after Ruud Gullit took over. A number of players were treated coldly by Gullit, and Pearce along with Barnes and Lee were made to train with the reserves despite cumulatively having over 150 England caps between them. Both Pearce and Barnes assert in their autobiographies Gullit felt threatened by the senior players in the squad, and they felt they were being sidelined to prevent them challenging him for the manager's position should it arise. Pearce claims also that he once kicked Gullit up in the air during a training session, and a number of other players sniggered at this due to Gullit's poor relationship with them.  Pearce went on to play for West Ham United, a year after falling out of favour with Newcastle manager Ruud Gullit. He made his debut on 7 August 1999 in a 1-0 home win against Tottenham Hotspur. His first goal came on 21 October 2000 in a 2-1 home defeat to Arsenal. He made 50 appearances in all competitions, scoring three goals and in 2001 he was named Hammer of the Year.  In the summer of 2001, he was Kevin Keegan's first signing for Manchester City for what would be the final season in his career. He captained the club to the First Division championship and scored direct from a free-kick on his debut, against Watford. In the final game of his career, against Portsmouth, he had the aim to reach 100 career goals. He took a penalty kick for City four minutes into injury time, but missed it along with the chance to reach his target.  Throughout his career, Pearce was given the nickname of "Psycho" for his unforgiving style of play. This was initially a tag afforded to him only by Forest fans, though later it was adopted by England supporters as well. Former England teammate Matthew Le Tissier has since described him as his scariest opponent in his book, Taking Le Tiss.  Former Nottingham Forest teammate Roy Keane said Pearce was a "man amongst boys" at Forest. In recognition of his talents and his support for various charities, he was made a Member of the Order of the British Empire by Queen Elizabeth II in January 1999.
Which of his fellow player's name was mentioned in his career?
A: Ruud Gullit.

Some context: The Future Sound of London (often abbreviated to FSOL) is a British electronic music group composed of Garry Cobain (sometimes stylised as Gaz Cobain) and Brian Dougans. The duo are often credited with pushing the boundaries of electronic music experimentation and of pioneering a new era of dance music. Although often associated with ambient music, Cobain and Dougans usually resist being typecast into any one particular genre. Their work covers many areas of electronic music, such as ambient techno, house music, trip hop, ambient dub, acid techno.
"Cascade", released as a single in 1993, introduced the commercial music world to the new FSOL sound. Despite its length, clocking in at nearly forty minutes and stretched over six parts, the track made the UK top 30, and previewed what was to come. In 1994, they released Lifeforms to critical acclaim. The album featured unconventional use of percussion interspersed with ambient segments. The eponymous single from the album featured Elizabeth Fraser of the Cocteau Twins on vocals. The album itself featured epic, ambient soundscapes, with tracks flowing from one to the next with no pauses in between. Throughout the record, familiar motifs and samples repeated themselves, sitting alongside tropical birdsong, rainfall, wind and an array of other exotic sounds, lending the album a natural, organic feel, backed up by the environmental landscapes that filled the artwork booklet. Brian Dougan's father was involved with the BBC Radiophonic Workshop which was a heavy influence in the almost musique concrete feel to Lifeforms. The album was also a top 10 hit on the UK album chart. Cobain has said that around this time that journalists would come to talk to them and one of the first things they would ask would be if they liked Brian Eno (whom they cite as an influence), to which they would laugh and say that they were about looking forward, not to the past. It was, to them, very much a new work rather than just another Eno-type ambient album.  We wanted to release a very immersive, mind-blowing piece of music that was long and would deeply drench you in it...Lifeforms was redefining 'classical ambient electronic experimental' - that was the phrase we used.  That year, they released the limited edition album ISDN, which featured live broadcasts they had made over ISDN lines to various radio stations worldwide to promote Lifeforms, including The Kitchen, an avant-garde performance space in New York and several appearances on the late John Peel's celebrated BBC radio Sessions shows. These shows marked the evolution of the Kiss FM shows of 1992 and 1993, moving away from DJ sets and into ambient soundscapes, with previously released material performed alongside unheard tracks. One live performance to BBC Radio 1 featured Robert Fripp performing alongside the band. The released album's tone was darker and more rhythmic than Lifeforms. Cobain stated that with ISDN they had wanted to achieve something epic and grand but no matter how much technological or personal support they had (and they had everything they could have possibly wanted) they never got to truly do what they envisioned; he admits to wanting too much at this time, even though the album was successful; the 90s, for Cobain in particular, were a time of frustration and feelings of not being able to do what they wanted to, because the technology at the time didn't fit the band's ideas. The following year, the album was re-released with expanded artwork and a slightly altered track list as an unlimited pressing.
How many records did it sell?
A:
even though the album was successful; the 90s, for Cobain in particular, were a time of frustration and feelings of not being able to do what they wanted to,