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The Evangelical Lutheran Church in America (ELCA) is one of the largest Christian denominations in the United States, with about 4 million members in nearly 10,000 congregations across the United States, Puerto Rico and the U.S. Virgin Islands.
We are church
We are what God has made us – people whom God has created by grace to live in union with Jesus Christ and has prepared to live faithful, fruitful lives by the power of the Holy Spirit (Ephesians 2:8-10). In Jesus Christ, God has reconciled us to God and to each other. As we gather around word and sacraments, this life in Christ is what defines, shapes and guides us as a community of faith, the church.
By God's grace we can and do live confidently and generously in this community of faith and in service of others, amid the mysteries and paradoxes of this life in Christ – including our human limitations and failings, and the ambiguities, uncertainties and suffering that we experience.
We are Lutheran
We are a church that walks by faith, trusting God's promise in the gospel and knowing that we exist by and for the proclamation of this gospel word. We proclaim Jesus Christ crucified and raised from the dead for the life of the world. As the apostle Paul wrote (Romans 1:16-17), and we echo in our Constitution (2.02), we are not ashamed of this gospel ministry because it is God's power for saving all people who trust the God who makes these promises. "We are to fear and love God, so, that we do not despise preaching or God's word, but instead keep that word holy and gladly hear it and learn it" (Small Catechism). God's word, specifically God's promise in Jesus Christ, creates this liberated, confident and generous faith. God gives the Holy Spirit who uses gospel proclamation – in preaching and sacraments, in forgiveness and in healing conversations – to create and sustain this faith. As a Lutheran church, we give central place to this gospel message in our ministry.
We understand to be Lutheran is to be ecumenical – committed to the oneness to which God calls the world in the saving gift of Jesus Christ, recognizing the brokenness of the church in history and the call of God to heal this disunity.


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The second by-election since Alberta's May 2015 election will be held on March 22, 2016 in the northeast Calgary constituency of Calgary-Greenway. With the re-election of Manmeet Bhullar, this constituency was one of eight in Calgary to elect a Progressive Conservative candidate in that election. His death in November 2015 triggered this by-election.
By-elections can produce unexpected results. While they are important snapshots of the political mood of an electorate at a certain point in time, the results can be poor indicators of outcomes of future general elections.
In October 2014, four by-election wins by the PC Party made Premier Jim Prentice look like a political juggernaut. His party was swept out of office by Rachel Notley's New Democratic Party seven months later. A by-election win by the Wildrose Party in 2009 did not produce a Danielle Smith-led government in 2012 and an important by-election win by the Liberals in Ralph Klein's Calgary-Elbow constituency in 2007 also ended up being a false start for that party in the next election.
Last year's by-election in Calgary-Foothills, triggered by Mr. Prentice's election night resignation, was the first in Alberta's dramatically new political environment. The NDP poured significant resources in their campaign to elect former MLA Bob Hawkesworth and his loss to Wildroser Prasad Panda was a blow to the NDP, which is likely why the NDP appear to have done a better job managing expectations for Roop Rai's campaign in Greenway.
Alternatively, the Calgary-Greenway by-election is a must-win for the PC Party, which has dropped down to eight MLAs from 70 MLAs before the 2015 election. PC candidate Prab Gill needs to retain this by-election to signal his party will continue to be a viable alternative to the NDP.
A win by the PC Party would also throw a wrench into the plans of the official opposition Wildrose Party, which has been aggressively attacking the new NDP government since it took office less than a year ago. A Wildrose win might be a final nail in the coffin of the PC Party.
A win by the Liberals would be, well, unexpected.
One poll, released by Mainstreet Research on March 12, projected a four-way race between the PC Party, NDP, Wildrose and Liberals.
Unlike most of the 44-years of PC Party government, Albertans no longer live in a political environment where we can expect the governing party to win every seat. And that's a good thing.
The following candidates will be listed on the ballot on the March 22, 2016 by-election in Calgary-Greenway:
Green Party: Thana Boonlert [Facebook, Twitter]
Liberal Party: Khalil Karbani [Facebook, Twitter]
Independent: Said Abdulbaki
Independent: Larry Heather
Independent: Sukhi Rai
New Democratic Party: Roop Rai [Facebook, Twitter]
Progressive Conservative: Prab Gill [Facebook, Twitter]
Wildrose Party: Devinder Toor [Facebook]

subset: commoncrawl


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Welcome to Elisées International
Elisées international is a private biotechnology company dedicated to the development of autologous and allogeneic stem cell technologies to further enhance and expand the potential of therapeutic stem cell transplants. Since our early days in research, we have grown exponentially over the years and have expanded our operations worldwide. Currently our treatment centers are located in Argentina and Thailand. We are continually having greater success with our major treatment operations.
Elisées Treatments
Elisées International goal is to provide you with the latest information, such as news and research, about stem cell treatment. Our major operations mainly focuses on treatments in: Phlebology (vein medicine), Lymphology, intestinal diseases, plastic surgery, cosmetic dermatology, laser medicine, regenerative medicine and unique immune modulation in chronic inflammatory diseases as well..


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Halloween is the second largest commercial holiday in theUnited States. There are fun and frightening activities to partake in this fall season, but keep in mind the following safety tips so festivities remain a treat for all.
Have a Safe Scare at a Haunted House
Haunted houses may be required to abide by fire and safety codes and may be subject to inspections before the general public is allowed to attend. Some may also be required to have a sprinkler system, early warning smoke or heat detectors, emergency lights, easy access doors, and other safety features. But regulations may not be the same in all areas and you are responsible for your own safety. To stay safe while visiting a haunted house:
- Take a flashlight with you. Even though the safety lighting might be fine for others, it may not be great for you.
- If you are going with small children, attach a glow stick to their clothing so they can be easily found in the dark.
- If there are stairs in the haunted house, be sure to use handrails and walk, do not run, up or down the stairs.
- If visiting a haunted house in a group, have a meeting place in case you get split up.
- Know where the exits are before entering the haunted house. Some attractions will provide you a map of the house so you are aware of where you are going when inside.
- Keep an adult in the front and rear of your group going through the haunted house to help monitor young children so they do not stray.
Don't Get Lost in the Corn Maze
Corn mazes are large fields of corn stalks, anywhere from a small field to more than 20 acres in size. They can be great fun if they are completed safely.
- Equip your group with flashlights and cell phones and try to stick together.
- Some mazes provide young children and groups with colored flags to wave in the air if they get lost. There are also mazes that have call boxes that will turn on a light to alert an attendant that you are lost or need assistance.
- Teach young children to not go outside of the maze's path. There may be a busy road or another unknown property beyond the corn stalks.
- Wear appropriate clothing and shoes as you will be outside. If the path is not wide, corn stalks may scratch your arms. Remember that rain can create muddy, slippery surfaces. Fallen corn stalks may also be a tripping hazard, so watch your step.
- Avoid smoking while in the maze as dry corn stalk could easily catch fire.
Hold on During the Hayride
Hayrides, whether haunted or not, can be a very enjoyable experience for any age. Sitting atop a truck, wagon or sleigh decorated with hay or straw is a great family tradition. Be sure to follow all signage at the hayride along with these tips:
- Be cautious when loading and unloading from the hayride. Make sure the hayride is at a complete stop before getting onboard or off. If there are steps, they could be slippery because of the hay or straw.
- Be careful when finding a place to sit. Your foot could easily slip between bales if you walk on them.
- Make sure everyone in your group is sitting at all times during the hayride and all arms and legs are kept inside the wagon.
- Hold on to small children and railings as bumps in the path could easily bounce you and them off of your seat.
- If the hayride is horse-drawn, be careful around the horse and do not approach it if the hayride operator states not to. If it is a tractor pulling the wagon, do not touch it as there are many handles and buttons that could accidently be pushed. The tractor could also be hot from running for a long period.
- Do not walk in the hayride path. Stay in a safe, well-lit area when you are not riding.
Always remember to wear proper attire and footwear and plan for weather restrictions . Enjoy fall festivities by planning in advance and being safety-conscious.


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DNA (deoxyribonucleic acid) is the chemical that makes up our genes. It contains a "code" of 3-letter words known as "codons" or "trinucleotides." Many genes normally contain trinucleotide sequences that can be repetitive. These are called "trinucleotide repeats." But when the number of trinucleotide repeats increases to a larger than normal number of copies, the DNA is changed. The gene may not function as it should, or may not work at all.
Researchers don't know exactly what causes a trinucleotide repeat to expand into more than the usual number of copies that should be in a gene. Sometimes, a person may have more than the usual number of copies, but not enough to alter the function of the gene. These people are said to be "premutation carriers." When they pass on these extra copies to a child, however, those extra trinucleotide repeats cause the DNA to become unstable, the repeats within that gene expand even more. The result is that the child has a gene that is not functioning properly (if at all), and the child is said to have the "full mutation." An example of a trinucleotide repeat disorder is fragile X syndrome.
Fragile X syndrome causes intellectual disability. This can range from mild to moderate to severe, in both males and females. However, males are typically more severely affected than females. Symptoms of fragile X syndrome in childhood are not always specific. They overlap with other disorders, such as autism, Prader-Willi syndrome, and attention deficit-hyperactivity disorder (ADHD). Symptoms may include delays in development of speech, language, and motor skills. Autistic-like behavior, frequent tantrums, anxiety, trouble paying attention, and hyperactivity are also commonly seen with fragile X syndrome. Gaze aversion, or the inability to make and hold eye contact, is very common among males and females with fragile X syndrome.
The gene that causes fragile X syndrome, called FMR1, is located on the X chromosome. Females are usually not as severely affected as males. That is because females have a normal X chromosome, in addition to the X with the mutation. The FMR1 gene normally contains 5 to 44 trinucleotide repeats. Premutation carriers have about 55 to 200 trinucleotide repeats. People with fragile X syndrome full mutation have over 200 repeats.


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When you see an article that you would like to read later, you can add it to your reading list and it will appear here.
Please note that the list is stored in your browser, so you are only able to access your reading list from the browser that you are managing your reading list from. However, you can now share your list to your Email or online.


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Journal of the South African Veterinary Association
On-line version ISSN 2224-9435
Print version ISSN 1019-9128
J. S. Afr. Vet. Assoc. vol.82 n.1 Pretoria Jan. 2011
Uterine adenocarcinoma with transcoelomic metastases in breeder hens (Gallus domesticus)
D G BwalaI; N M DuncanII,*; S P R BisschopI
IPoultry Reference Centre, Faculty of Veterinary Science, University of Pretoria, Private Bag X04, Onderstepoort, 0110 South Africa
IIPathology Department, Faculty of Veterinary Science, University of Pretoria, Private Bag X04, Onderstepoort, 0110 South Africa
Hens involved in a Newcastle disease study were euthanased at regular intervals according to a designed protocol. Of these, 7.14 % (n = 42) of the 82-week-old specific pathogen-free breeder hens were found to have well-delineated firm white to yellowish nodules of varying sizes in the abdominal cavity. Histologically, the nodules were identified as an adenocarcinoma originating in the uterus. Transcoelomic spread was evidenced by the presence of similar neoplastic cells embedded in the serosa and outer longitudinal muscle layer of the intestines as well as the liver.
Keywords: adenocarcinoma, hens, uterine tumour.
Tumours in commercial poultry are mostly caused by infection with avian herpes, leukosis and retroviruses3 and thus most studies on avian tumours have been focused on those with viral aetiology, probably due to their economic importance and also because they serve as a model for human cancer studies10.
Adenocarcinomas in poultry are among the groups of tumours of unknown aetiology, and have been reported by several veterinary pathologists and reviewed12.
The term adenocarcinoma9 or peritoneal carcinomatosis13 has been applied to tumours whose origin cannot be ascertained but that spread widely over the peritoneum and other visceral organs and are frequently observed in aged hens8. Spontaneous neoplasms or adenocarcinomas affecting various organs have been reported in specific pathogen-free (SPF) hens4, 5 and most of these tumours are thought to originate in the oviduct or ovary2,6,11. A study in Irish abattoirs reported 419 birds with nodules, 80.4 % of which were tumours, and 71.8 % of the tumours were adenocarcinoma of the intestine and reproductive tract15. A prevalence of 5-81 % for oviductal adenocarcinomas in end-of-lay hens7and 92.9 % for ovarian and oviduct adenocarcinomas1 in 305 4-year-old layers has been reported1.
Generally, information on the incidence of nonviral tumours in commercially raised chickens and turkeys is limited, probably due to their shorter life span than that required for the development of such tumours10,12. Also, there are few reports of tumours that are not virally induced because structured surveys are not conducted to assess the situation as they are generally perceived as incidental conditions. Nonviral tumours are also probably considered to be of less economic importance12. The present communication reports cases of uterine adecarcinoma in SPF breeder hens (Gallus domesticus ) encountered during an experimental virus challenge study.
Forty-two commercial Hyline Brown layers (52 weeks old) and 42 SPF White Leghorn breeder hens (82 weeks old) selected for a Newcastle disease vaccine trial were randomly assigned into 8 groups. Birds were then vaccinated with La Sota vaccine after acclimatising for 2 days and subsequently challenged 10 days later with a virulent isolate of Newcastle disease virus belonging to lineage 5d/VIId. Eight birds (4 SPF and 4 commercial) were euthanased on days 2, 4, 6, 8 and 10 post-vaccination and post-challenge. The euthanased birds were necropsied and various organs required for the trial were collected. The organs with nodules encountered at necropsy were also sampled. Gross findings were recorded and samples of the organs including those with nodules were preserved in 10 % neutral buffered formalin, trimmed and then routinely processed and stained with standard haematoxylin and eosin (H&E) and then examined by light microscopy.
All the birds were in a relatively good bodily condition throughout the trial. Two of the hens euthanased on day 2 post-vaccination and another 1 euthanased on day 6 post-challenge, however, had prominent keel bones and shrunken breast muscles. The coelomic cavity of all 3 hens was filled with firm white to yellowish growths of varying sizes. The nodules were found on the oviduct, pancreas, liver, heart, spleen, proventriculus, intestines and the mesentery (Figs 1 & 2). There were adhesions between the various organs and especially between the intestinal loops. The intestinal mesentery was also extensively involved resulting in clumping of the intestine. The follicles were inactive with no mature or developing ova and the oviducts were small, flaccid and non-functional.
Microscopically, the uterine changes were characterised by transmural branching cords and sheets of neoplastic cells. Indications of acinus/tubule formation were also present within these aggregates of neoplastic cells (Figs 3 & 4). The neoplastic cells had medium to large vesicular nuclei with a single nucleolus and moderate amounts of grey, finely granular cytoplasm. The mitotic index was low. Marked fibroplasia (scirrhous reaction) was found surrounding the acinar structures (Figs 3 & 4). Transcoelomic spread was evidenced by the presence of similar neoplastic cells embedded in a prominent fibrous stroma abutting the serosa and outer longitudinal muscle layer of the intestines as well as on the capsule of the liver. The glandular origin of the neoplasm was much more evident in the metastatic foci, with tubule and acinus formation being prominent. There was no evidence of neoplasia in the ovarian and magnal tissues.
These cases were diagnosed as uterine adenocarcinoma with transcoelomic metastases based on the histological morphology of the uterine neoplasm. The neoplasm was characterised by branching cords and sheets of cells infiltrating between the smooth muscle bundles of the uterine wall. These changes were absent in the magnal tissue and ovary. Metastatic abdominal adenocarcinomas may originate from either the ovary or the oviduct and their differentiation may be difficult11. In these cases the absence of neoplastic cells in the ovarian and magnal tissues confirms the site of origin as uterine in nature. According to a previous report12, most adenocarcinomas of the oviduct originate in the upper magnal portion of the oviduct, but occasional cases of adenocarcinomas do occur in the shell gland (uterus) and infundibulum. Although this was not a structured research study, the prevalence of 7.14 % recorded agrees with previous findings of a prevalence rate of 5-81 % for oviductal adenocarcinoma7.
These adenocarcinomas were encountered in 82-week-old White Leghorn hens, which tallies with the reviewed published findings1that ovarian and oviductal adenocarcinomas are among the most frequently encountered tumors in older White Leghorn hens. The SPF birds used in the study had been laying eggs for approximately 62 weeks and prolonged reproductive activity and ageing has been suggested to have a direct relationship to the occurrence of oviductal adenocarcinomas in fowl4,15, presumably because the high egg production is associated with continuous gonadotrophin production, resulting in the excess stimulation of oestrogen-sensitive target organ epithelium14.
In conclusion, neoplastic diseases, irrespective of their aetiology or the organ affected, cause economic loss and therefore the recording and reporting of these diseases remain vital.
We are grateful to the Poultry Reference Centre, Faculty of Veterinary Science, University of Pretoria, for funding the diagnostic bills and Dr Kerstin Junker for her assistance with the micrograph pictures.
1. Alfonso M, Adochiles L, Hendrickson V M, Carver D K, Rodriguez G C, Barnes H J 2005 Metastatic adenocarcinoma in the lungs of older laying hens. Avian Diseases 49: 430-432 [ Links ]
2. Campbell J G 1969 Tumours of the fowl. Lippincott, Philadelphia, PA: 180-182 [ Links ]
3. Fadly A M 2003 Neoplastic diseases. In Saif Y M, Barnes H J, Glisson J R, Fadly A M, McDougald L R, Swayne D E (eds) Diseases of poultry (11th edn). Iowa State Press, Ames, IA: 405-407 [ Links ]
4. Fredrickson T N 1987 Ovarian tumors of the hen. Environmental Health Perspectives 73: 35-51 [ Links ]
5. Fredrickson T N, Helmboldt C F 1991 Tumors of unknown etiology. In Calnek B W, Barnes H J, Beard C W, Reid W M, Yoder H W (eds) Diseases of poultry (9th edn). Iowa State University Press, Ames, IA: 459-470 [ Links ]
6. Giles J R, Shivaprasad H L, Johnson P A 2004 Ovarian tumor expression of an oviductal protein in the hen: a model for human serous ovarian adenocarcinoma. Gynecologic Oncology 95: 530-533 [ Links ]
7. Goodchild W M 1969 Adenocarcinoma of the oviduct in laying hens. Veterinary Record 84: 122 [ Links ]
8. Haritani M, Kajigaya H, Akashi T, Kamemura M, Tanahara N, Umeda M, Sugiyama M, Isoda M, Kato C 1984 A study on the origin of adenocarcinoma in fowls using immunohistochemical technique. Avian Diseases 28: 1130-1134 [ Links ]
9. Ilchmann G, Bergmann V 1975 Histologische und elektronenmikroskopische Untersuchungen zur Adenokarzinomatose der Legehennen. Archiv für Experimentelle Veterinärmedizin 29: 897-907 [ Links ]
10. Kumar R, Nair M G, Lakkawar A W, Varshney K C 2004 Ovarian adenocarcinoma in a guinea fowl (Numida meleagris ) - a case report. Veterinarski Arhiv 74: 245-249 [ Links ]
11. Reece R L 1997 Tumours of unknown etiology. In Calnek B W (ed.) Diseases of poultry (10th edn). Iowa State University Press, Ames, Iowa: 459-463 [ Links ]
12. Reece R L 2003 Neoplastic diseases. Other tumours of unknown etiology. In Saif Y M, Barnes H J, Glisson J R, Fadly A M, McDougald L R, Swayne D E (eds) Diseases of poultry (11th edn). Iowa State Press, Ames, IA: 541-564 [ Links ]
13. Sokkar S M, Mohammed M A, Zubaidy A J, Mutalib A 1979 Study of some non-leukotic avian neoplasms. Avian Pathology 8: 69-75 [ Links ]
14. Swarbrick O, Campbell J G, Berry D M 1968 An outbreak of oviduct adenocarcinoma in laying hens. Veterinary Record 82: 57-59 [ Links ]
15. Talebi A, Collins J D, Dodd K 1993 Nodular lesions found in Irish poultry during veterinary inspection at poultry meat plants. Avian Pathology 22: 715-724 [ Links ]
Received: September 2009.
Accepted: March 2011.
* Author for correspondence. E-mail: firstname.lastname@example.com


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Solutions Search: Geospatial Tools for Urban Problems
Wednesday, January 09th, 2019
This searchable database indexes visual and geospatial solutions to critical urban problems. Examples span the city, county, state, and federal levels, and feature a wide variety of interventions and initiatives, including maps, data visualizations, and dashboards. Searchable by a project's end goal, issue area, and type of intervention, the database is a resource hub for civic leaders seeking models for replication and inspiration about how visual tools can unlock data-driven insights. Follow this link to explore the database
Sourced from: Data-Smart City Solutions


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The BKD-1 Hydraulic Brake Bleed Kit will bleed most models of DOT-fluid-based hydraulic brakes. Hydraulic systems need bleeding to remove any air bubbles and to inject new, clean fluid.
- Designed and built for home use and the rigors of daily commercial use
- Includes two syringes, hoses with shutoff clips, multi-size bleed blocks and a unique attachable syringe mount
- Housed in a rugged reusable case
- Machined stainless steel and 7075 aluminum fittings to service SRAM, Hayes, Formula, Hope and other brands of DOT-fluid-based hydraulic brake systems
- Replacement parts available
- Brake fluid not included
WARNING: Cancer and Reproductive Harm


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Cocoon is a 100% pure Java publishing framework that relies on new W3C technologies (such as DOM, XML, and XSL) to provide web content.
The Cocoon project aims to change the way web information is created, rendered and served. The new Cocoon paradigm is based on the fact that document content, style and logic are often created by different individuals or working groups. Cocoon aims for a complete separation of the three layers, allowing the three layers to be independently designed, created and managed, reducing management overhead, increasing work reuse and reducing time to market.
The Introduction to Cocoon Technologies white paper provides a clear, introductory-level overview.
Web content generation is mostly based on HTML, but HTML doesn't separate the information from its presentation, mixing formatting tags, descriptive tags and programmable logic (both on server side and client side). Cocoon offers a different way of working, allowing content, logic and style to be separated out into different XML files, and uses XSL transformation capabilities to merge them.
Even if the most common use of Cocoon is the automatic creation of HTML through the processing of statically or dynamically generated XML files, Cocoon is also able to perform more sophisticated formatting, such as XSL:FO rendering to PDF files, client-dependent transformations such as WML formatting for WAP-enabled devices, or direct XML serving to XML and XSL aware clients.
The Cocoon model allows web sites to be highly structured and well-designed, reducing duplication efforts and site management costs by allowing different presentations of the same data depending on the requesting client (HTML clients, PDF clients, WML clients) and separating out different contexts with different requirements, skills and capacities. Cocoon allows better human resource management by giving each individual their job and reducing to a minimum the cross-talks between different working contexts.
To do this, the Cocoon model divides the development of web content into three separate levels:
XML creation - The XML file is created by the content owners. They do not require specific knowledge on how the XML content is further processed - they only need to know about the particular chosen "DTD" or tagset for their stage in the process. (As one would expect from a fully generic XML framework, DTDs are not required in Cocoon, but can be used and validated against). This layer is always performed by humans directly, through normal text editors or XML-aware tools/editors. XML processing - The requested XML file is processed and the logic contained in its logicsheet(s) is applied. Unlike other dynamic content generators, the logic is separated from the content file. XSL rendering - The created document is then rendered by applying an XSL stylesheet to it and formatting it to the specified resource type (HTML, PDF, XML, WML, XHTML, etc.)
The biggest known problem in this framework is the lack of XML/XSL expertise - both being relatively new formats. We do believe, though, that this publishing framework will be a winner in web sites of medium to high complexity and will lead the transition from an HTML-oriented to a XML-oriented web publishing model, whilst still allowing the use of existing client technologies as well as supporting new types of clients (such as WAP-aware ultra thin clients like cell phones or PDAs).
Even if considered heavy and over-hyped, the XML/XSL pair will do magic once it receives the widespread public knowledge it deserves. This project intends to be a small step in that direction - helping people to learn this technology and to focus on what they need, with examples, tutorial and source code and a real-life system carefully designed with portability, modularity and real-life usage in mind.
The main concern remains processing complexity: the kind of operations required to process the document layers are complex and not designed for real-time operation on the server side. For this reason, Cocoon is designed to be a page compiler for dynamic pages, trying to hardcode, whenever possible, those layers in precompiled binary code coupled with an adaptive and memory-wise cache system for both static and dynamic pages. A key development goal is performance improvement of both processing subsystems as well as the creation and testing of special cache systems.
Yes, even though XML publishing is a brand new area, the incredible acceptance of these technologies urged editors to provide books that covered the subject. While many books that cover XML exist, one of them, "Java and XML", dedicates an entire chapter to XML publishing frameworks and Cocoon in particular, and that chapter was made available free of charge here. Our grateful thanks go to both O'Reilly and Brett McLaughlin for this.
The official distribution site is here.
But, if you want, you can find unofficial RPM packages here (which may not always be up-to-date).
The Cocoon Project is an Open Source volunteer project under the auspices of the Apache Software Foundation (ASF), and, in harmony with the Apache webserver itself, it is released under a very open license. This means there are lots of ways to contribute to the project...


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As a recruiter, I have met and interviewed hundreds of candidates who have no idea who they are.
Without a personal brand, candidates struggle to answer the question: "tell me about yourself—who are you?" They have no idea about who they are, what their strengths are, and how they can add value to the company. They present their CV's believing that their CV is the key to their career success. In some ways, your CV still has its use. However, in today's job market, you need more than a CV to stand out in a crowd.
According to Celinne Da Costa:[1]
"Personal brand is essentially your golden ticket to networking with the right people, getting hired for a dream job, or building an influential business." She believes that "a strong personal brand allows you to stand out in an oversaturated marketplace by exposing desired audiences to your vision, skillset, and personality in a way that is strategically aligned with your career goals."
A personal brand opens up your world to so many more career opportunities that you would never have been exposed to with just your CV.
Table of Contents
What Is Your Personal Brand?
"Personal branding is how you distinctively market your uniqueness." —Bernard Kelvin Clive
Today, the job market is very competitive and tough. Having a great CV will only let you go so far because everyone has a CV, but no one else has your distinct personal brand! It is your personal brand that differentiates you from everyone else and that is what people buy—you.
Your personal brand is your mark on the world. It is how people you interact with and the world see you. It is your legacy—it is more important than a business brand because your personal brand lasts forever.
I have coached people who have very successful careers, and they come to me because they have suddenly found that they are not getting the opportunities or having the conversations that would them to their next role. They are having what I call a "career meltdown," all because they have no personal brand.
A personal brand helps you become conscious of your differences and your uniqueness. It allows you to position yourself in a way that makes you stand out from the pack, especially among other potential job applicants.
Don't get me wrong, having a great CV and a great LinkedIn profile is important. However, there are a few steps that you have to take to have a CV and LinkedIn profile that is aligned to who you are, the value you offer to the market, and the personal guarantee that you deliver results.
Building your personal brand is about strategically, creatively, and professionally presenting what makes you, you. Knowing who you are and the value you bring to the table enables you to be more informed, agile, and adaptable to the changing dynamic world of work. This is how you can avoid having a series of career meltdowns.
Your Personal Brand Is Essential for Your Career Success
In her article, Why Personal Branding Is More Important Than Ever, Caroline Castrillon outlines key reasons why a personal brand is essential for career success.
According to Castrillon,[2]
"One reason is that it is more popular for recruiters to use social media during the interview process. According to a 2018 CareerBuilder survey, 70% of employers use social media to screen candidates during the hiring process, and 43% of employers use social media to check on current employees."
The first thing I do as a recruiter when I want to check out a candidate or coaching client is to look them up on LinkedIn or other social media platforms, such as Facebook, Instagram, and Twitter. Your digital footprint is the window that highlights to the world who you are. When you have no control over how you want to be seen, you are making a big mistake because you are leaving it up to someone else to make a judgment for you as to who you are.
As Jeff Bezos, the founder of Amazon, once said, "Your brand is what people say about you when you are not in the room."
In her book, Becoming, Michelle Obama writes about the importance of having a personal brand and her journey to defining her personal brand. She wrote that:
"if you don't get out there and define yourself, you'll be quickly and inaccurately defined by others."
When you have a personal brand, you are in control. You know exactly what people will say about you when you leave the room.
The magic of a personal brand is that gives you control over how you want to be seen in the world. Your confidence and self-belief enable you to leverage opportunities and make informed decisions about your career and your future. You no longer experience the frustrations of a career meltdown or being at a crossroads not knowing what to do next with your career or your life. With a personal brand, you have focus, clarity, and a strategy to move forward toward future success.
Creating your personal brand does not happen overnight. It takes a lot of work and self-reflection. You will be expected to step outside of your comfort zone not once, but many times.
The good news is that the more time you spend outside of your comfort zone, the more you will like being there. Being outside of your comfort zone is where you can test the viability of and fine-tune your personal brand.
5 Key Steps to Creating Your Personal Brand
These five steps will help you create a personal brand that will deliver you the results you desire with your career and in life.
1. Set Your Personal Goals
What is it that you want to do in the next five years? What will your future self be doing in the next five to ten years? What is important to you? If you can answer these questions, then you are on the right path. If not, then you have to start thinking about them.
2. Create Your Unique Value Proposition
Create your unique value proposition by asking yourself these four questions:
- What are your personality features? What benefit do you offer people?
- Who are you and why do people enjoy working with you?
- What do you do and what do people want you to do for them? How do you solve their problems?
- What makes you different from others like you?
The answers to these questions will give you the information you need to create your professional story, which is the key step to creating your personal brand.
3. Write Your Professional Story
Knowing who you are, what you want, and the unique value you offer is essential to you creating your professional story. People remember stories. Your personal story incorporates your value proposition and tells people who you are and what makes you unique. This is what people will remember about you.
4. Determine Which Platforms Will Support Your Personal Brand
Decide which social media accounts and online platforms will best represent your brand and allow you to share your voice. In a professional capacity, having a LinkedIn profile and a CV that reflects your brand is key to your positioning in relation to role opportunities. People will be connecting with you because they will like the story you are telling.
5. Become Recognized for Sharing Your Knowledge and Expertise
A great way for you to promote yourself is by sharing knowledge and helping others. This is where you prove you know your stuff and you gain exposure for doing so. You can do this through social media, writing, commenting, video, joining professional groups, networking, etc. Find your own style and uniqueness and use it to attract clients, the opportunities, or the jobs you desire.
The importance of having a personal brand is not going to go away. In fact, it is the only way where you can stand out and be unique in a complex changing world of work. If you don't have a personal brand, someone will do it for you. If you let this happen, you have no control and you may not like the story they create.
Standing out from others takes time and investment. Most people cannot make the change by themselves, and this is where engaging a personal brand coach is a viable option to consider.
As a personal brand coach, working with my clients to create their personal brand is my passion. I love the fact that we can work together to create a personal story that defines exactly what people will say when you leave the room.
Other People's Stories
Listening to other people's stories is a great way to learn. In his article, 7 TED Talks About Personal Branding, Rafael Dos Santos presents the best Ted Talks where speakers share their stories about the "why," "what," and "how" of personal branding.((GuidedPR: 7 TED Talks About Personal Branding))
Take some time out to listen to these speakers sharing their stories and thoughts about personal branding. You will definitely learn so much about how you can start your journey of defining yourself and taking control of your professional and personal life.
Your personal brand, without a doubt, is your secret weapon to your career success. As Michelle Obama said,
"your story is what you have, what you will always have. It is something to own."
So, go own your story. Go on the journey to create your personal brand that defines who you are, highlights your uniqueness, and the value you offer to the world.
Featured photo credit: Austin Distel via unsplash.com
[1] | ^ | Forbes: Why Your Personal Brand Is Your New Resume |
[2] | ^ | Forbes: Why Personal Branding Is More Important Than Ever |


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Le Pliage Original Tote bag M
Le Pliage Original Tote bag M
Paper - Canvas
Referrence: L2605089P71- Snap button
- Zip closure
- 2 inside flat pockets
We will send you an email as soon as this product is available.
Product dispatched within 1-2 business days.
Product Details
- Reference : L2605089P71
- Dimensions : 28 cm (L) x 26,5 cm (H) x 15,5 cm (W)
- Material : Recycled polyamide canvas with inside coating
- Metallic Hardware : Gold color
- Trimming : Russian leather (cowhide)
- Weight : 220 g
- Handle Height : 21 cm
- Closing : Zipped and snap closure
- Flat pocket : 2
Made by LONGCHAMP
All Longchamp items are created with the utmost care in our workshops. Le Pliage is a practical and lasting product that allows regular use. To ensure the longevity of the product, please treat it with care.
To maintain your product, apply with a soft brush Longchamp colorless cream regularly to leather areas. To remove dirt, clean the whole lining using a cloth or a soft brush, with water and neutral soap.
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This tote bag captivates you with its minimalist silhouette and compact volume, and can even be folded into the size of a paperback book. Its long handles allow you to wear it comfortably on your shoulder, while its zipper closure ensures the safety of all of your belongings. Longchamp drew its inspiration from origami when creating LE PLIAGE, a light, foldaway bag that has since become a cult object worldwide.The LE PLIAGE line comes in a multitude of shapes and sizes, and in many colors each season. Ideal for everyday use, LE PLIAGE is light as a feather, folds away to the size of a paperback, and is durable enough to keep all your essentials close to hand.


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Product ID: 231106-5
Cure: Kiln Dried
Surface: Planed
Edge: Live Edge Both sides
*Approx. Bd-ft: 29
*Approx. Weight: 71 lbs
Flatten Top Side Already
Flatten Both Sides Already
Prep for Finish +$939.44
Finish Slab +$1005.37 – $1137.22
Shipping: Call for pricing
Often called a Wood slab, live edge board, board with bark on edges, thick board, thick plank, wavy edge board, or simply wide plank, these unique one of a kind wood slabs make beautiful table tops, coffee tables, end tables, benches, etc, which can only limited by your imagination. This particular wood slab is Butternut, sometimes called White Walnut, or "poor-mans Walnut", Butternut is indeed closely related to Black Walnut. While the difference is not black and white, the wood of Butternut is considerably lighter-colored than Black Walnut, as well as being very soft and lightweight. Butternut is known to have a cathedral grain that look like waves breaking on a beach.
All of our log flitches are kept together through the entire milling and drying process to give our customers the opportunity to choose color matched as well as book-matched slabs. The log was numbered in order, so each number is book-matched to the number before and/or after it. Unfortunately it is impossible for us to go in and edit every listing after an item sells, so you may run into a set like this that doesn't have a book-match left to it, please check out our other slabs to see if there is a sequential slab.
For picture taking purposes, sometimes we will use alcohol on them. Our slabs are as described as accurately as possible but due to the nature of highly figured and/or burled wood, minor cracking and checking might not be evident. Unless the slabs have already been milled flat, the slabs may have a twist and/or cup to them. Because of the natural edge look to most of our slabs, our dimensions are listed as "at the widest spot" or "at the longest spot" of the slab. Some of our slabs still have the bark attached, we cannot guarantee that all bark will remain on the slab during the shipping process. Our slabs are handled with great care, but even as they get moved around on the shelf, the bark can come off. Item numbers are written on all slabs in red wood marking crayon.
*Due to the natural of these irregular shaped slabs with live edges, it is near impossible to calculate the actual board footage in each slab. We average the width then multiply it by the length and the thickness to get the approximate board footage. The same goes with the weight, it is based on an average of bd-ft and excepted industry standards for weight of the specific species. Actual bd-ft and moisture content vary from slab to slab and we only weigh them from shipping purposes.
**Flatten top side; Machined top side (customer picks which side) ONLY. Flatten both sides; Machine top and bottom of slab. Prep for finish; Machined top and bottom of slab and finish sanded to 220g, ready for customer to apply their own finish. Finish Slab; Includes machining to top and bottom of slab, finish sanding to 220g and applying customers choice of finishes and sheens including but not limited to pre-cat lacquer, post-cat Conversion Varnish, 2 part Euro Acrylic-Polyurethane, 2 part pour-on epoxy.


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Nobuo Uematsu Profile
Also Known As: 植松 伸夫 (うえまつ のぶお) / NOBIYO |
Date of Birth: March 21, 1959 (Kochi) |
Residence: Tokyo |
Game Works: Final Fantasy, Lost Odyssey, The Black Mages |
Official Site: Company Site |
Organisation | Type | Tenure | Role |
Square | Game Developer | 1992 – 2003 | Composer |
Square Sounds | Music Production Subsidiary | 1999 – 2002 | Producer, Composer |
Square Enix | Game Developer | 2003 – 2004 | Composer |
The Black Mages | Music Group | 2002 – 2008 | Co-Founder, Composer, Keyboards, Organ |
Smile Please | Music Studio | 2004 – | Founder, President, Composer |
Dog Ear Records | Music Production, Record Label | 2006 – | Founder, President, Composer |
Earthbound Papas | Music Group | 2010 – | Co-Founder, Composer, Keyboards, Organ |
Generally recognised as the most popular game music composer, Nobuo Uematsu came to attention while scoring Square's Final Fantasy series and has, more recently, pursued a diverse freelance career. Born on March 21, 1959 in Kochi, Uematsu enjoyed music from a young age and considered Elton John an idol. While never formally educated, he taught himself how to play his grandparent's guitar and sister's piano from the age of 12, using nothing but his ear and some enigmatic songbooks for inspiration. When he entered junior high school, the artist developed a taste for the British progressive rock movement — finding it fascinating how artists blended such emotional sounds from a rock basis — while still listening to a range of pop music. He went on to form an amateur band with three school friends, writing music for over a hundred songs from lyrics he received; like most his subsequent compositions, he focused on creating simple but emotional melodies and showed more influence from Western than Japanese movements. While these were humble beginnings, his performances still managed to entertain small crowds at several local gigs. Music had become Uematsu's primary passion.
Uematsu subsequently studied a non-musical degree at the Kanagawa University and met his future wife Reiko. After graduating in 1981, he realized he needed a stable income to marry his partner and started working part-time at a music rental company. He enjoyed drinking beers with his friends there, and often contemplated his future with them without knowing what his steps were. One of his dreams was to create intimate and memorable music for European-styled films, but he never considered working in the still archaic games industry. As time went by, Uematsu continued to perform in various amateur bands and create music for some commercials, but still struggled financially. Noticing his musical talent, a girl he met at the rental company — who had been taken on at the art department of Square — encouraged him to create some music for the company's titles. Following a premonition by a fortune teller, he had a chance meeting with designer Hironobu Sakaguchi in 1985 and agreed to create music for his games on the side. At that time, the company was still a struggling collective of hobbyists, working from a computer café, but Uematsu felt inspired by its designer's vision and confidence.
Uematsu has noted that his first few years working for Square were not easy, given the company struggled to generate a hit in Japan's increasingly crowded video game market. In his first role, he created a handful of compositions for the PC-8801 title Cruise Chaser Blassty. On this title, he adapted his rock-flavoured style to match the science-fiction tone of the game and carefully implemented the music with PSG synth. He subsequently complemented the image of various other computer titles with impressive central themes — spanning the gothic Genesis, ominous Aliens, and girly Alpha — but never enjoyed widespread recognition. Taking a few step backwards technologically, he later worked on some NES titles that were localised overseas. He motivated listeners with upbeat chiptunes on 3D Worldrunner and JJ, between creating a fast-paced funky score for Rad Racer and a heroic accompaniment to King's Knight. Also in 1987, he was also responsible for three scores on the Famicom Disc System, namely Cleopatra's Cursed Treasure, Appletown Story, and Tokimeki High School. Published by the Nintendo, the latter was a historic bishoujo game featuring pop idol Miho Nakayama. Despite featuring ambitious concepts and scores, few of these titles recouped their development costs on publishing.
After this underwhelming start, Uematsu made his popular breakthrough during Christmas 1987. While facing bankruptcy, Sakaguchi decided to make one more game for the title, an RPG inspired by the commercially successful Dragon Quest. The success or failure of this turbulent project would likely determine the fate of the company, hence its title Final Fantasy. The game was, of course, a huge genre-redefining hit thanks to its creator's inspiration and promotion. While a collaboration with a Japanese band was considered, Uematsu was ultimately responsible for the entire score. Using Hironobu Sakaguchi's briefings and Yoshitaka Amano's artwork for inspirations, Uematsu created a range of music that fitted the game's settings, battles, and menus. He placed an emphasis on strong heartfelt melodies throughout — inspired in part by Koji Kondo's Super Mario Bros. and Koichi Sugiyama's Dragon Quest — while also portraying the magical element of the game with staples such as the arpeggiated prelude and an assortment of sound effects. He persevered to overcome the numerous technical restrictions imposed by the NES' three channels and memory limitations, but otherwise felt creatively liberated throughout the project. While the score was the series' most brief and modest, it was fondly remembered by those who played the game.
With Square secure thanks to the financial success of Final Fantasy, Uematsu was taken on as a full-time composer at their new headquarters in 1987. Soon enough, he started work on Final Fantasy II, creating a score that built on its predecessor in several ways. He focused on contrasting the title's armies and portraying several mystical locations, while also propelling some mainstays such as the hummable Chocobo theme. Aware of the popularity of the series' music, he compiled his two Final Fantasy scores with bonus arrangements into the album release All Sounds of Final Fantasy I & II for CD, tape, and vinyl. Inspired by the precedent of Dragon Quest, the Tokyo Symphony Orchestra also performed a symphonic adaptation of the scores at a special concert in 1989. Uematsu found it extremely nerve-racking to produce such a momentous event, but was relieved by the reception. The event inspired even Koichi Sugiyama's attention and set precedent to a series of concert adaptation and arranged albums popularising Final Fantasy music. Uematsu also scored a couple of experimental RPGs between such productions, demonstrating his light-hearted humorous personality on Hanjuku Hero before taking a more scenic approach on the novel adaptation Square's Tom Sawyer.
In 1989, Uematsu established the musical foundations of Akitoshi Kawazu's SaGa franchise. On the title's first instalment, he accommodated the technical restrictions and stereo sound of the Game Boy while offering several memorable RPG themes. He subsequently composed half of SaGa 2: The Treasure Legend, mixing arrangements of mainstays such as "The Legend Begins" and "Wipe Your Tears Away" with new compositions, before creating a synthesizer medley for the trilogy's album release. As the company's scores were growing more expansive and detailed, Uematsu decided it was no longer possible for him to score all of Square's titles. Between 1990 and 1992, he took on composers Kenji Ito and Hiroki Kikuta, sound programmer Minoru Akao, and a team of sound designers to develop further titles. Now leader of a sound team, Uematsu — barely in his 30s — decided to grow his trademark moustache alongside Sakaguchi to command more authority. Able to dedicate his composing time to the Final Fantasy franchise, he wrote some 44 pieces for 1990's Final Fantasy III. Wanting to prove that he could create more complex music too, he also produced the album Final Fantasy III: Legend of Eternal Wind, mixing medley arrangements with original vocal themes and epic narration.
Embracing the opportunities of the Super Nintendo, Uematsu subsequently created the entire score for Final Fantasy IV. He found the project went extremely smoothly and, with his company having set up a second headquarters in Hawaii, he particularly enjoyed being able to compose from an office overlooking the beach. Fuelled by the more elaborate scenario, he portrayed the personalities and emotions of the game's characters with several evocative themes. He also produced more fleshed-out depictions of the game's settings to support the richer visuals and elaborated on his popular battle theme approach for several boss encounters. With the series becoming increasingly marketable, Uematsu worked closely with NTT Publishing producer Kensuke Matsushita to adapt the score into a Celtic-themed arranged album, piano collection, and promotional single. Uematsu's approach on Final Fantasy V was more ambitious once again — fondly remembered in Japan for emotional explorations such as "Dear Friends" and rocking action themes such as "Clash on the Big Bridge" — and he personally arranged a selection of favourites for the album Final Fantasy V: Dear Friends. But despite these developments, he ensured that his music was still accessible and sincere — placing a focus on strong melodies that could speak for themselves above everything else.
Looking back at his works, Uematsu considers 1994's Final Fantasy VI his favourite project and score. He notes that there was an amazing amount of teamwork with the 30 person team and invested so much emotion into the project that he cried when Sakaguchi gave a speech at its launch party. Treating the score as an ending point for him, he created numerous memorable and emotional pieces to enhance the game. Most notably, the score featured several extended setpieces, including a classically-inspired opera sequence, a four-tiered organ piece to represent the metamorphosis of the final boss, and a gigantic ending theme featuring nostalgic arrangements of every character theme. With Final Fantasy becoming a worldwide phenomenon, Uematsu's music from the game was commemorated with a three disc soundtrack release in both Japan and North America, while also forming the basis of arranged albums for orchestra and piano. At the request of his mentor Koichi Sugiyama, he was delighted to attend a 23 minute adaptation of the game's opera sequence at the fourth Orchestral Game Concert. Uematsu also agreed for his music Final Fantasy's Nintendo generation to be adapted into two vocal collections, a remix collection, and a compilation.
After completing Final Fantasy VI, Uematsu spent six months penning his first solo album Phantasmagoria at the request of NTT Publishing. Having created so many intense and diverse game soundtracks, he focused on communicating music to relax and heal minds. Having long considered music a universal language, he notes that "people from all over the world can appreciate the same song and this brings some peace between people". Featuring a range of synthetic instrumental tracks and hypnotic voice pieces, the album fittingly closed with a special vocal arrangement of the Final Fantasy series' main theme. Returning to his main scoring duties, Uematsu closed the Super Nintendo era three other scores. He returned from vacation to supplement the score for Chrono Trigger with several memorable compositions while Yasunori Mitsuda was hospitalised. He subsequently created a light-hearted accompaniment to the Satellaview's DynamiTracer, filled with playful jazz licks and amusing voice effects. Finally, he complemented the dark tone of Omiya Soft's Front Mission: Gun Hazard with dramatic melodies, stylish sound palettes, and loud dynamics; to his disappointment, the vast majority of the 200 pieces he created were discarded, though the remaining pieces are a distinctive addition to his discography.
Deciding to continue forth with further Final Fantasy scores, Uematsu invested considerable time into scoring 1997's Final Fantasy VII. Marking the transition from the Super Nintendo to PlayStation, Uematsu was eager to learn what could be achieved with new hardware and embrace the opportunity to experiment in new styles. He was not disappointed when he shown a rendering of the opening movie for the game by director Yoshinori Kitase. Inspired by the rich visuals, he immediately started work on a cinematic theme to contrast the planet's natural beauty with an industrial metropolis. With his faithful Roland SC88 synthesizer by his side, he went on to create music to enhance numerous other iconic scenes in the vast game. In what has been called one of the most iconic moments in gaming, millions of players wept to Uematsu's gentle melodies and "Aerith's Theme" was ingrained into the general gaming consciousness. Despite never fulfilling his ambitious to create a theme song for the title, the composer made the game's climactic battle all the more memorable with "One-Winged Angel"; experimenting with the console's technology, he inserted the theme into the game by combining a sequenced orchestra with compressed choral performances inspired by Orff.
Uematsu took an even more elaborate approach to scoring on Final Fantasy VIII. Having recruited several synthesizer operators to the sound team during the development of the title, in the final expansion of his sound team, he was able to offer more realistic and expressive orchestral samples to express his melodies. Facilitated by the streaming technology of the PlayStation and the orchestrations of Shiro Hamaguchi, he was even able to integrate full orchestra and chorus performances into the momentous opening and extended ending sequences. To support the romantic storyline, he also recorded a love ballad with Faye Wong, "Eyes on Me", that sold half a million copies and won an eminent award. Following this epic and futuristic score, he reverted to a more personal and traditional approach on the simultaneously developed Final Fantasy IX. The 150 track score was particularly influenced by his explorations of music from other countries and eras during his personal time. Highlights included the ancient instrument performances on "A Place to the Call Home", Spanish guitar stylings of "Vamo Alla Flamenco", impressionistic wanderings of "Bran Bal", and nostalgic lyrical lines of "Melodies of Life". However, he ensured his personal melody-driven approach to game scoring remained consistent throughout.
Between 1998 and 2001, Uematsu also worked on several other non-game productions. As a producer of the concept vocal albums Ten Plants and Ten Plants: Children's Songs, Uematsu brought together numerous composers from different companies. It was one of the first albums of its kind in the game music field and inspired various successors. In other vocal productions, Uematsu supplemented two original albums, Emiko Shiratori's Cross My Heart, RIKKI's Honey, and elva's self-titled debut, with new pieces; while they never became as well-known as the Final Fantasy's ballads, they further reflected Uematsu's ability to connect with people through vocal melodies. Wanting to further challenge himself, he went on to contribute emotional theme songs and several instrumental compositions to the animes Ah! My Goddess and Final Fantasy: Unlimited; he worked closely with lead composer and orchestrator Shiro Hamaguchi to ensure they fitted intimately into the final scenes. Hironobu Sakaguchi also requested that he compose either a full score or theme song for the feature film Final Fantasy: The Spirits Within, but he lacked the time to commit. He realized that, while it was once his dream to score films, he prefers the freedom that game scoring offers to composer and player alike.
In 2001, Uematsu headlined the score for the PlayStation 2's Final Fantasy X. As the game incorporated voice acting and stereo sound, the composer took a more subdued and cinematic approach to the music. Motivated by the game's rich scenario, he nevertheless produced several defining themes that were extensively arranged through the game. In a series of firsts, he arranged his first solo piano piece for the tear jerking opening, wrote a modal hymn that was incorporated into the story, and instilled an Okiniwan flavour to the theme song "Suteki da ne". Physically exhausted from late nights and distracted by development meetings, the composer was nevertheless unable to compose at the pace and quality necessary to meet the score's deadline. He therefore requested composing assistance for the first time in the series — selecting Masashi Hamauzu and Junya Nakano, who he felt long deserve the opportunity to come to the spotlight. While developing the title, he also revisited his classic Final Fantasy scores featured on several compilations. The ports of the series' Super Nintendo titles were supplemented with new opening and ending themes, while the remake of Final Fantasy was enhanced with richly styled arrangements and new battle themes.
In 2002, Uematsu was excited to attend the orchestral concert 20020220 — Music from Final Fantasy, the first dedicated to the series in over a decade. The concert featured orchestrations of favourites across the series performed by the Tokyo Philharmonic Orchestra to a sold-out crowd. Having become the much-loved face of Final Fantasy music, Uematsu was overwhelmed by the fan reception at the event. The composer subsequently attended presentations of the series' music at two commercially and critically successful tours. Tour de Japon — Music from Final Fantasy was a series of seven concerts in six cities across Japan featuring several exclusive symphonic arrangements. Dear Friends — Music from Final Fantasy brought favourites such as "To Zanarkand", "One-Winged Angel", and "Theme of Love" to equally eager audiences in North America for the first time. The series' music also debuted in Europe at the First Symphonic Game Music Concert and Australia at A Night in Fantasia 2004 with the composer in attendance. Though the pieces performed at each concert tended to stay the same, hearing them live and receiving the opportunity to meet or see Uematsu was a big enough thrill that thousands of fans flocked to their esteemed venues.
Uematsu also helped to developed Final Fantasy's discography by preparing numerous soundtrack releases, arranged albums, vocal singles, and compilations released by DigiCube. As an employee, he did not own or profit from the music that he created and felt slightly exploited by his employer's increasingly commercialistic tactics. Nevertheless, he felt most productions were natural ones in response to fan demand and particularly enjoyed recording albums such as the Final Fantasy VII Piano Collections and Final Fantasy Song Book Mahoroba. He also felt enthusiastic about Tsuyoshi Sekito and Kenichiro Fukui's attempts to produce a rock album dedicated to Final Fantasy battle themes; he felt that, despite the series' increasing reputation for orchestral approaches, he remained a rock musician at heart and wanted to convey this to world. He subsequently led a six-piece band, known as The Black Mages, into gloriously received concerts at Tokyo and Kanagawa during 2003. He took an active role planning and performing the band's challenging second album and accompanying concerts, before making a series of guest appearances at other events. The concerts were certainly a welcome departure from the middle-aged business man's office duties and he released their DVD recordings to his official fan club.
During his final years as an in-house employee, Uematsu worked on numerous projects. He headlined the score for Final Fantasy XI with several major themes, otherwise scored under his supervision by Naoshi Mizuta and Kumi Tanioka; most notably, he wrote the epic opening theme for Esperanto chorus to symbolise connecting people across the world through the MMORPG. He subsequently revisited his earliest days at the company on Hanjuku Hero VS 3D — offering numerous light-hearted tracks rendered in 8-bit synth and two hilarious anime-styled theme songs — before creating the frivolous main theme for Final Fantasy Tactics Advance. He also worked closely with members of The Black Mages on Final Fantasy VII: Advent Children, realizing his contributions would have a greater mainstream pull than Hollywood; while most pieces were arrangements of Final Fantasy VII favourites, the composer specifically created new pieces such as "Beyond the Wasteland", "Divinity", and "Cloud Smiles" for the film. While he agreed to score Final Fantasy XII, his role was eventually reduced to the theme song; he nevertheless ensured "Kiss Me Good-Bye" was a memorable one, creating a melody he feels is his most beautiful to date and selecting Angela Aki as a vocalist by instinct.
In October 2004, Uematsu left Square Enix to become a freelance composer and music producer. While he had found himself creatively compromised by the increasing commercialism and bureaucracy at the company for several years, the major factor contributing to his department was the move of their headquarters from Meguro to Shinjuku; Uematsu found the work environment less comfortable and spent over an hour commuting to work every day. The controversial departure of Hironobu Sakaguchi a year earlier also contributed to his decision. After leaving, Uematsu established his personal studio Smile Please with his wife Reiko and the canine mascot Pao. He also formed the company Dog Ear Records with producers Kensuke Matsushita and Hiroki Ogawa to pursue new scoring assignments and album productions. Finally liberated from his office duties, he was also able to spend some time relaxing, having beers at his mountain cabin in Yamanakako and walking his dog in the country air. But since receiving an influx of offers after leaving, he soon found himself working longer hours than ever and rarely took a weekend off.
Uematsu's first major client as a freelance was Hironobu Sakaguchi, who asked him to compose a string of titles designed by Mistwalker. On 2006's Blue Dragon, Uematsu created a diverse but light-hearted score to complement Sakaguchi's scenario. While he drafted the score on his ancient Roland SC88 — still fearful of more expensive and advanced setups — he worked closely with orchestrator Hiroyuki Nakayama on the gushing setting themes and rock arranger Satoshi Henmi on the blazing battle tracks. The score's centrepieces included the sentimental vocal ballad "My Tears and the Sky" and a heavy metal boss theme "Eternity" sung by Ian Gillan. His well-received music from the title was arranged for the game's anime adaptation and two DS titles. The following year, he portrayed the more serious and tragic story of Lost Odyssey with an epic score. He recorded the music with a team of instrumentalists and topped it off with two ballads sung by Sheena Easton. Also on behalf of Mistwalker, Uematsu composed the main theme for Away: Shuffle Dungeon and supplemented Blue Dragon Plus with a new battle theme. He also signed to work on Cry On before it was cancelled.
Wanting to make concert productions more common in Japan, Uematsu inspired and organised Press Start: Symphony of Games with four others in 2006. In its series of annual performances, the concert has balanced selections of fan favourites with more obscure selections to celebrate the diversity of today's video game music. He also continued to make special guest appearances at other concerts, notably the historic More Friends — Music from Final Fantasy, Voices — Music from Final Fantasy, and Extra: Hyper Game Music Event 2007; at the culmination of these concerts, Uematsu even came on stage with The Black Mages to perform hits such as "Advent: One Winged Angel" to unprecedented reception. With producers around the world being aware of his pulling power, Uematsu's music has also prominently featured on the ensemble tours Video Games Live and PLAY! A Video Game Symphony — even creating a bombastic fanfare for the latter — and he has since gone on to make numerous appearances with the series' world tour Distant Worlds — Music from Final Fantasy; since its debut in Stockholm on December 2007, the composer has worked closely with producer and conductor Arnie Roth to ensure the tour remains fresh and engaging.
Despite his departure, Uematsu has remained on good terms with his former employer and still developed the Final Fantasy series with them. In addition to appearing on various concerts licensed by them, he has supervised various scores featuring his music, such as Hanjuku Hero 4, Chocobo and the Magic Picture Book, and the remake of Final Fantasy III. He has also worked closely with them on several sheet music books and arranged album productions for the Final Fantasy series. Most notably, he planned and promoted the productions Final Fantasy Remix, Cellythm -Those Who Distorted-, and The Black Mages III -Darkness and Starlight- with Hiroki Ogawa. Despite being aware of legalities, Uematsu felt it was ethically wrong that he could not freely publish arrangements of his Final Fantasy compositions through his record label and now wants to own the music that he spent so much time creating. He also found it restrictive that The Black Mages could not perform music, given they were technically owned by Square Enix. To his regret, the artist therefore closed his time with the massively successful band with a lavishly produced concert at the Yokohoma Blitz during August 2008.
As a freelancer, Uematsu has also explored other facets of his musicality in a series of unprecedented game scores. For example, he wrote jazz music extensively for the first time while producing the ensemble score for AQ Interactive's Anata o Yurusanai; his lounge style pieces and smoky vocal themes were a considerable departure from his more marketable Final Fantasy music, but fittingly portrayed the featured female detective. On Square Enix's Lord of Vermilion, on the other hand, Uematsu created hard rock music to engage listeners in arcades; with its epic main theme and atmospheric arrangements, the project certainly showed influences from Uematsu's days listening to progressive rock music. For Marvelous Entertainment's Sakura Note, the composer was obliged by the director to take a more retrospective approach; with the exception of the vocal theme, most of the pieces were reminiscent of Final Fantasy's Super Nintendo scores with their youthful melodies and humble synth. In other surprising works, Uematsu created the epic main theme of the ensemble score Super Smash Bros. Brawl, which was extensively featured throughout the score, and served as the music director of Kurulin Fusion, spawning electronic arrangements of Bach's music by Kenichiro Iwasaki.
Beyond the realms of game music, Uematsu took the opportunity to score his first complete anime score in 2009, an adaptation of the long-running novel series Guin Saga. Working closely with orchestrators Hiroyuki Nakayama and Tsutomu Narita, the composer carefully adapted his approach to fantasy scoring in order to portray the title's beautiful scenery and dramatic cinematics. For the first time in his career, the composer recorded the entire score with an orchestra and produced two spiritual theme songs performed by Kanon. In a further work, he composed the theme song for the radio station Minna no Uta with Manami Kiyota. The following year, he commemorated his 50th birthday with his self-published second solo album 10 Short Stories. Liberated from the typical demands of mainstream record labels, Uematsu decided to create a children's album that reflected his enthusiastic and humorous personality throughout. Working closely with ACE, he created ten pop-flavoured songs and set them to animated videos. Desiring that the music be accessible for international audiences, he recorded the album in Japanese and English, and published the release through CD, DVD, and iTunes. It was another surprising and refreshing work from the ever-popular artist.
In his first solo score for the series in a decade, Uematsu created all the music for the initial release of Final Fantasy XIV. The score wasn't particularly nostalgic to him, given the title was an MMORPG and he had relatively little interaction with the designers. Instead he focused on retaining the fantasy element of the series' music while offering modern production values. He simultaneously composed the music for Hiroyuki Sakaguchi's Wii RPG The Last Story. Arranged and programmed by GEM Impact's Yoshitaka Suzuki, much of the score took Uematsu's music in a Hollywood-inspired direction. He reunited with Kanon to record the game's vocal theme "The Flying One" and subsequently inspired her studio album A New Story, blending spiritual compositions with Final Fantasy arrangements. In smaller roles, Uematsu penned inspiring themes for various productions — spanning the video games UnchainBlades ReXX and Jyuzaengi, to the animation Fairy Tail and charity album Play For Japan — and served as a music producer for Lord of Arcana and Lord of Apocalypse. Continuing to be closely involved with Distant Worlds, he also participated in the piano tour Benyamin Nuss Plays Uematsu and the orchestral concert Symphonic Odysseys.
In 2010, Uematsu also founded the five-man rock band Earthbound Papas to pursue independent studio and live activities. The band debuted with Uematsu's dream rock-orchestral rendition of Final Fantasy VI's "Dancing Mad" on the studio recording Distant Worlds II and subsequently recorded their debut album Octave Theory, mixing progressive rock compositions with arrangements of Uematsu's scoring highlights. The members have gone on to make numerous live appearances, notably on Dog Ear Records' semi-annual concert events, Japan's Fantasy Rock Festivals, and Washington D.C.'s MAGFest X. Impressed by the diverse skills and backgrounds of the Earthbound Papas' members, Uematsu has also scouted the band for entire game scores. Under the direction of Uematsu, the band went on to compose and arrange the music for the multifaceted UnchainBlades ExxIV and light-hearted Hyperdimension Neptunia Victory. After a long development, Uematsu's latest game project Fantasy Life was released at the end of 2012, filled with light vocal pieces. The artist is also currently writing the theme song for NORN9 while juggling ongoing concert appearances. Throughout his 25 years in the industry, Uematsu has evidently made a connection with gamers through his heartfelt melodies and his music continues to be enjoyed by millions.
– Various Game & Album Credits
– Liner Notes Translations
– VGMdb Discography
– Company Site (English)
– Fan Site (English)
– Interview with RocketBaby (English, December 2002)
– Interview with 1UP (English, February 2008)
– Interview with Original Sound Version (English, July 2009)
– Interview with Game Music Online (English, December 2009)
– Interview with Anime Boston Panel (English, April 2010)
– Interview with Game Music Online (English, July 2010)
– Interview with Game Music Online (English, April 2011)
© Biography by Chris Greening (June 2011). Last updated on March 18, 2013. Do not republish without formal permission.
Posted on March 18, 2013 by Chris Greening. Last modified on March 21, 2014.


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An attractive and scantily clad woman with shiny bobbed hair lounges in her apartment, sipping a cocktail while listening to a Victrola recording of "Hula Lou." It's a typical setting for a modern woman of the 1920s—except, perhaps, for the man lying at her feet, dying of a gunshot wound.
The woman was Mrs. Beulah Annan and the man was her lover, Harry Kohlstedt. She had shot him minutes before and was trying to decide what to do next. Some of the details of Annan's actions just after the murder on April 3, 1924, are true. Others may be embellishments or outright inventions by reporter Maurine Watkins of the Chicago Tribune.
Watkins's description of Annan's motive reads like a dime novel: "… [she] shot because he had terminated their little wine party…" and "His body lay hunched against the wall in her bedroom as she played the record over and over again." Watkins wrote with a darkly humorous sensibility, which newspaper readers relished. Readership was so strong that her reports of this routine murder case quickly moved from the back pages to the front.
Watkins had also reported on another sensational murder trial, that of Belva Gaertner, who was suspected of killing her lover. On March 12, 1924, Walter Law was found dead, slumped over the steering wheel of Belva's car. "Dancer Faces Jury In Fashion's Latest," read one headline. Watkins describes the courtroom scene: "Mrs. Gaertner was as demure as any convent girl—yesterday!—with brown eyes dreamily cast downwards…with rouge [that] made her well on the dangerous side of 30." The sharp wit of Watkins's reportage is in the wisecracking urban style of writers such as The New Yorker's Dorothy Parker and displayed in quotes supposedly from Gaertner like "No sweetheart is worth killing—especially when you've had a flock of them …" or "… gin and guns—either is bad enough, but together they get you in a dickens of a mess, don't they."
Maurine Watkins was one of a wave of reporters in the 1920s who spiced crime stories with lurid and intimate details in order to grab front-page headlines. The trend became so popular that reputable papers felt the need to compete and adopted the tabloid style of news as entertainment. Such info-tainment took the bite out of tragic news and turned it into gossip, which readers felt little guilt about enjoying.
Watkins later used the sordid details of the Annan and Gaertner murders, along with the snappy dialogue and cynical attitude of her newspaper coverage, in her successful play, Chicago. Beulah Annan became Roxie Hart and Belva Gaertner became Velma Kelly. "Why, you may even end in wax works!" Jake, the reporter, says in the play. "Lord, girl, you're getting free publicity a movie queen would die for!"
The time was ripe, in the 1920s, to release a play containing such jaded views of the American judicial system and the manipulation and power of the media. The decade was full of change, trauma, and tension. The Great War had just ended, the influenza pandemic had claimed approximately 675,000 American lives, large numbers of immigrants were pouring into the cities, paved roads enabled greater freedom by automobile, race relations were tense and violent, Prohibition instantly created thousands of jobs for criminals who filled the demand for liquor, and gangsters like Al Capone enjoyed celebrity status. Women got the vote and were flaunting their newfound freedom in previously unheard of ways, such as public smoking, venturing out without chaperones, and going to college in record numbers. These changes continued to spur concerns from the public, that it was dangerous to a woman's health to study for exams while menstruating, and that education would destroy a woman's chances of a happy marriage and motherhood. Rarely had Americans encountered this much change so quickly, and they had much reason for cynicism and unease.
Chicago the play premiered in New York in December 1926 and it first played Chicago in September 1927. Gaertner herself attended the Chicago premiere and once again was in the papers: "Belva Sees Chicago and Relives Killing." Only three months later on December 23, 1927, the film version, produced by Cecil B. DeMille premiered, bringing murder with a satiric edge to a wider audience. By that time, Annan had moved to Indiana where, in 1928, she died of either a mental breakdown or tuberculosis, according to different sources.
In the film, Roxie Hart is less a modern woman than a nightmare of who the modern woman could be. Phyllis Haver portrays Roxie Hart with a flourish of narcissism and manipulation. She behaves much like a naughty six-year old who takes very little seriously, except how she looks and what she can get. At one point, Roxie shows annoyance with her lover by roughly biting his ear and returns his anger with a coy smile. In a badly timed ploy to give him a hefty stack of unpaid bills for extravagant clothing, she tells him, "Shut your eyes Daddy—I've got a surprise for you," as she wedges the bills into his hand. When he refuses to pay, her coy looks turn to anger that has no mature control. Haver acted in more than 100 films, including Thunder (1929), which was Lon Chaney's last silent film. She was best known as a deft comedienne, having honed her skills as a Mack Sennett Bathing Beauty. The character of Roxie takes Haver's acting skills in a comedic direction that was biting and satiric, and less broad.
Julia Faye, who appeared in many DeMille films during her 40-year career, plays Velma Kelly, Roxie's fellow prisoner. From Velma, Roxie could learn about the fleeting nature of fame and manipulation at the hands of Billy Flynn, but Roxie is too self-absorbed to see.
Frank Urson directed this satiric tale of sex and murder set in his native Chicago. Urson began his career as a cinematographer in 1917, directing his first film in 1921. He worked on a number of films for Demille. After Chicago, Urson made one more film before his untimely death by drowning in 1928.
Victor Varconi, who plays Roxie's put-upon husband, Amos, was a Hungarian immigrant whose real name was Mihaly Varkonyi. Varconi poignantly portrays the suffering man in love with a no-good dame. Amos and Roxie are a textbook example of codependency. For all his puppy-dog gazes, his virtue is shaky. In order to save Roxie and continue their unhealthy relationship, he lets himself become corrupted.
After the trials of Annan and Gaertner, Watkins's dark humor soon went out of style. Cases like that of Nicola Sacco and Bartolomeo Vanzetti, two Italian immigrants accused of murder for possibly political reasons, Leopold and Loeb's senseless murder of a young teenager, and the vicious, premeditated murder of Albert Snyder by his wife Ruth and her lover Judd Grey were far too serious to be written about with a light hand. Watkins abandoned journalism to attend George Pierce Baker's playwriting classes at the Yale School of Drama. There she wrote Chicago, based on her articles for the Chicago Tribune.
With the success of the play and the movie version of Chicago, Watkins was in demand, although her success was short-lived. Her next play, Revelry, was not well received and her next step, a career in Hollywood, was short and uneventful. After her time in California, she moved in with her parents and out of the public eye. Although her play Chicago went out of print in 1927, a second film version of Chicago was released in 1942, Roxie Hart, starring Ginger Rogers. This version considerably softened the character of Roxie by turning her into an opportunist, not a murderess.
Watkins was approached throughout the 1950s and the 1960s for the rights to revive her play for Broadway, which, time and time again, she refused to give. Writer and historian Thomas H. Pauly, who published her play and articles on Annan and Gaertner under the title Chicago: With the Chicago Tribune Articles That Inspired It by Maurine Watkins, believes that Watkins was burdened by guilt over her contribution to the acquittals of Annan and Gaertner. She also suffered over the way she had hypocritically satirized her her own profession and her work as a journalist for the Chicago Tribune.
Bob Fosse eventually did secure the rights to the play after Maurine Watkins's death, in 1969. The musical opened on Broadway in 1975 and ran for two years. Like her two star murderesses, Watkins herself was a relative flash in the pan, her fame fleeting. She was unable, or unwilling, to produce another dramatic story that caught the eye of the public, and so she faded, like them, into obscurity. The kinds of stories that made her famous— killers as celebrities, death as entertainment—have been part and parcel of the media ever since.
Presented at Silent Winter 2006 with live music by Baker-Mehling Hot Five


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