Problem: Background: Robson was born in Sacriston, County Durham, the fourth of five sons of Philip and Lilian Robson (nee Watt). When he was a few months old, Robson's family moved to the nearby village of Langley Park where his father was a coal miner. Their two-bedroom house had no bath and an outside toilet. As a boy, he was often taken by his father to watch Newcastle United play at St James' Park on Saturday afternoons, requiring a 34-mile round trip.
Context: Although Robson had signed professionally, his father insisted he continue to work as an electrician. He spent the day working at the Festival of Britain site and trained three nights a week at Fulham. Eventually, this took its toll on Robson and he gave up his trade for full-time professional football.  In 1950, Robson made his first-team debut for Fulham, recently promoted to the First Division, in a match against Sheffield Wednesday. He came to regard Fulham as "a nice club, a social club...", but "never... a serious, championship-challenging club". Indeed, he and Fulham were relegated from the top-flight in the 1951-52 season, but he made his return to the First Division, four years later, when he signed for Vic Buckingham's West Bromwich Albion in March 1956. The transfer fee of PS25,000 was a club record for West Brom at the time.  He made his West Brom debut in a 4-0 home defeat to Manchester City on 10 March 1956. In 1957-58, he was the club's top league goalscorer; his tally of 24 goals included four in a 5-1 win against Burnley. Often playing as a midfielder, he went on to play 257 matches and score 61 goals for West Brom, and he captained the team for the 1960-61 and 1961-62 seasons. However, in August 1962, he returned to Fulham after a disagreement with West Brom vice-chairman Jim Gaunt over his salary. The ongoing dispute over both minimum and maximum wages in the game, instigated by Robson's teammate Jimmy Hill and the Professional Footballers' Association, combined with the birth of Robson's second son, prompted Robson to demand a higher salary. Gaunt refused to negotiate Robson's contract, so Robson placed a transfer request and was sold to Fulham for PS20,000 in a deal which doubled his salary. Soon after Robson joined Fulham, the club sold Alan Mullery and Rodney Marsh, meaning Robson's chances of securing any significant honour there were substantially reduced. Robson himself stated, "In all my time as a footballer, I didn't win a thing."  Despite press reports of interest from Arsenal, and the offer of a player-manager role by Southend United, Robson left Fulham in 1967 and accepted a three-year deal with Canada's Vancouver Royals. He was to be player-manager in their inaugural 1968 season in the North American Soccer League (NASL) and believed it "was a chance too good to miss". The position proved difficult; a long-distance joint-ownership agreement gave the Hungarian footballer Ferenc Puskas control over the San Francisco section of the squad, while Robson took care of the Vancouver squad. Robson was dissatisfied by this situation and when, in January 1968, Fulham offered him a contract as their manager, he accepted the position at Craven Cottage.
Question: Did he meet anyone important during his club career?
Answer: However, in August 1962, he returned to Fulham after a disagreement with West Brom vice-chairman Jim Gaunt over his salary.

Problem: Background: Nobuo Uematsu (Zhi Song  Shen Fu , Uematsu Nobuo, born March 21, 1959) is a Japanese video game composer, best known for scoring most of the titles in the Final Fantasy series by Square Enix. He is considered to be one of the most well known composers in the video game industry. Sometimes referred to as the "Beethoven of video games music", he appeared five times in the top 20 of the annual Classic FM Hall of Fame. Uematsu, a self-taught musician, began playing the piano at the age of twelve, with English singer-songwriter Elton John as his biggest influence.
Context: Uematsu joined Square in 1985, and composed the soundtrack to Cruise Chaser Blassty in 1986, his first. While working at Square, he met Hironobu Sakaguchi, who asked him if he wanted to create music for some of his games, which Uematsu agreed to. For the next year, he created music for a number of games which did not achieve widespread success, including titles like Genesis and Alpha. In 1987, Uematsu and Sakaguchi collaborated on what was originally to be Sakaguchi's last contribution for Square, Final Fantasy, a game that turned out to be a huge success.  Final Fantasy's popularity sparked Uematsu's career in video game music, and he would go on to compose music for over 30 titles, most prominently the subsequent games in the Final Fantasy series. He scored the first installment in the SaGa series, The Final Fantasy Legend, in 1989. For the second game in the series, Final Fantasy Legend II he was assisted by Kenji Ito. In late 1994, Uematsu signed on to finish the soundtrack for the critically acclaimed title Chrono Trigger after the game's composer, Yasunori Mitsuda, contracted peptic ulcers. In 1996, he co-composed the soundtrack to Front Mission: Gun Hazard, and created the entire score for DynamiTracer. He also created music for three of the games in the Hanjuku Hero series.  Outside video games, he has composed the main theme for the 2000 animated film Ah! My Goddess: The Movie and co-composed the anime Final Fantasy: Unlimited (2001) with Final Fantasy orchestrator Shiro Hamaguchi. He also inspired the Ten Plants concept albums, and released a solo album in 1994, entitled Phantasmagoria. Feeling gradually more dissatisfied and uninspired, Uematsu requested the assistance of composers Masashi Hamauzu and Junya Nakano for the score to Final Fantasy X in 2001. This marked the first time that Uematsu did not compose an entire main-series Final Fantasy soundtrack. For Final Fantasy XI from 2002, he was joined by Naoshi Mizuta, who composed the majority of the soundtrack, and Kumi Tanioka; Uematsu was responsible for only eleven tracks. In 2003, he assisted Hitoshi Sakimoto in scoring Final Fantasy Tactics Advance by providing the main theme.  In 2002, fellow Square colleagues Kenichiro Fukui and Tsuyoshi Sekito asked Uematsu to join them in forming a rock band that focused on reinterpreting and expanding on Uematsu's compositions. He declined their offer at first because he was too busy with work; however, after agreeing to perform with Fukui and Sekito in a live performance as a keyboardist, he decided to join them in making a band. Another employee at Square, Mr. Matsushita, chose the name The Black Mages for their band. In 2003, Keiji Kawamori, Arata Hanyuda, and Michio Okamiya also joined the band. The Black Mages released three studio albums, and appeared at several concerts to promote their albums.
Question: Did anybody else join?
Answer:
Another employee at Square, Mr. Matsushita, chose the name The Black Mages for their band.