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Allen Klein

Allen Klein (December 18, 1931 – July 4, 2009) was an American businessman whose aggressive negotiation tactics affected industry standards for compensating recording artists. He founded ABKCO Music & Records Incorporated. Klein increased profits for his musician clients by negotiating new record company contracts. He first scored monetary and contractual gains for Buddy Knox and Jimmy Bowen, one-hit rockabillies of the late 1950s, then parlayed his early successes into a position managing Sam Cooke, and eventually managed the Beatles and the Rolling Stones simultaneously, along with many other artists, becoming one of the most powerful individuals in the music industry during his era.

Rather than offering financial advice and maximizing his clients' income, as a business manager normally would, Klein set up what he called "buy/sell agreements" where a company that Klein owned became an intermediary between his client and the record label, owning the rights to the music, manufacturing the records, selling them to the record label, and paying royalties and cash advances to the client. Although Klein greatly increased his clients' incomes, he also enriched himself, sometimes without his clients' knowledge. The Rolling Stones' $1.25 million advance from the Decca Records label in 1965, for example, was deposited into a company that Klein had established, and the fine print of the contract did not require Klein to release it for 20 years. Klein's involvement with both the Beatles and Rolling Stones would lead to years of litigation and, specifically for the Rolling Stones, accusations from the group that Klein had withheld royalty payments, stolen the publishing rights to their songs, and neglected to pay their taxes for five years; thus had necessitated their French "exile" in 1971.

After years of pursuit by the IRS, Klein was convicted of the misdemeanor charge of making a false statement on his 1972 tax return, for which, in 1980, he was jailed for two months.

Early life
Klein was born in Newark, New Jersey, the fourth child and only son of Jewish immigrants. His mother died of cancer soon afterward, and Klein lived for a time with his grandparents, then subsequently in a Jewish orphanage, until his father remarried shortly before Klein's 10th birthday. An indifferent student, he graduated from Weequahic High School in 1950; fellow graduate Philip Roth was the only classmate to sign his yearbook.

In early work experience with a magazine and newspaper distribution company he showed skill with numbers, and learned about how profits were often concealed from those who had been crucial in generating them. Eventually he would realize that much the same situation existed in popular music, where labels routinely took much profit from the transitory careers of the artists who created the profit-generating music, paying them less than what Klein thought they should.

Klein enlisted in the US Army in 1951, where he served as a clerk typist on Governors Island, New York. After military service, and with the assistance of the G.I. Bill, Klein majored in accounting at Upsala College, graduating in June 1957, and was hired by a Manhattan accounting firm, Joseph Fenton and Company. He was assigned to assist Joe Fenton in an audit of a music publishers' organization, the Harry Fox Agency, and several record companies, including Dot Records, Liberty Records, and Monarch Records. In an early setback to Klein's career, he was fired by Joseph Fenton and Company after four months because of chronic lateness. The company wrote to the State of New Jersey urging officials not to approve him as a Certified Public Accountant, and Klein chose not to take the examination. He briefly attended law school but soon dropped out.

Aided by his friendship with music publisher Don Kirshner, a fellow alumnus of Upsala College, Klein worked as an accountant for the next several years, assisted by Henry Newfeld, a CPA who was a friend from school and the Army, and Marty Weinberg, another CPA, under the name Allen Klein and Company. Klein's clients included Ersel Hickey, Dimitri Tiomkin, Steve Lawrence, Eydie Gormé, Sam Cooke, Buddy Knox, Jimmy Bowen, Lloyd Price, Neil Sedaka, Bobby Darin, Bobby Vinton, Scepter Records, and the estate of Mike Todd. A key early contact was attorney Marty Machat, who frequently performed legal work for Klein over the years.

In June 1958, Klein married Betty Rosenblum, a Hunter College student seven years his junior. The couple had three children.

Klein acquired a reputation as a tough negotiator who could bring money to his clients. Two of them, rockabilly singers Knox and Bowen, were owed royalties by Roulette Records. Morris Levy, co-owner of Roulette, was feared because of his organized crime connections. He was known to pay artists as little as possible. Klein persuaded him to pay Knox and Bowen the royalties they were owed over a four-year period. Klein's success with the Knox and Bowen negotiation brought him new clients, and he and Levy became lifelong friends.

Sam Cooke
In 1963, Klein began a business partnership with Jocko Henderson, an urbane black disc jockey who had daily radio shows in both Philadelphia and New York. Henderson hosted lavish, profitable live rhythm and blues shows at the Apollo Theater in Harlem, and formed a partnership with Klein to begin doing the same in Philadelphia. As Henderson's partner, Klein was introduced to Sam Cooke, a pre-eminent talent who was equally adept at writing, producing, and performing his numerous hit records. Cooke had scored four top ten hits between 1957 and 1963, including his number one hit, "You Send Me," among 33 records in the top 100 in that period. Although Cooke was clearly making his label, RCA Records, a great deal of money, label executives nonetheless repeatedly refused to honor his many requests for a review of his accounts. Klein forced the reluctant label to open its books for a thorough audit. Shortly afterward, RCA agreed to re-negotiate Cooke's contract.

Klein secured for his client a genuinely groundbreaking deal. Cooke created a holding company, Tracey Ltd., which was named after Cooke's middle daughter. Klein, Cooke's manager, sneakily changed paperwork and listed himself as owner instead (and Sam Cooke as his employee). Sam Cooke trusted him to protect him against crooked music executives but Klein used that trust to his advantage.

Tracey would manufacture Cooke's recordings and give exclusive rights to RCA to sell them for 30 years, after which the rights would revert to Tracey. Cooke would receive a cash advance of $100,000 per year for three years, followed by $75,000 for each of two option years. Instead of being paid the first $100,000 in cash, Cooke was paid in Tracey preferred stock, which would be taxed only when he sold it. While the deal benefited Cooke, it also greatly benefited Klein, who ended up owning the rights to all of Cooke's recordings made since the contract re-negotiation when Cooke was killed in 1964 and his widow sold Cooke's remaining rights to Klein.

Klein's successful negotiations on behalf of Cooke brought him new clients, including Bobby Vinton and the Dave Clark Five. As with Cooke, Klein arranged for his clients to be paid over a period of time to reduce their tax liability. This also benefited Klein, who took advantage of the earning potential of money over time to "make money from the money."

According to the 2019 documentary Lady You Shot Me: The Life and Death of Sam Cooke, Klein was a predator in his relationship with the singer. As of 2019, Cooke's family received no royalties or benefits from his music. All royalties and publishing profits go to Klein's corporation.

Mickie Most and the British Invasion
In 1964, Klein became the American business manager of Mickie Most, a former singer who was the savvy producer of hits for the Animals and Herman's Hermits. Klein extended to Most a million-dollar promise, adding that if he failed to deliver in only one month, Most owed him nothing. Klein did deliver, through strategic re-negotiations of existing contracts and new producing opportunities for RCA, including offers for Most to produce for both Sam Cooke and Elvis Presley. Though the latter two prospects did not materialize, Most was suddenly one of the most talked-about and financially gratified figures in the English recording industry, and Klein was a step closer to eventual agreements with both the Beatles and the Rolling Stones.

His victories for Most won Klein access to several key English musicians. He eventually negotiated vastly improved deals for The Animals, Herman's Hermits, the Kinks, Lulu, Donovan, and Pete Townshend of the Who. However, Klein's help came at a price. To shelter his clients' money from Britain's high taxation rate on income earned abroad, Klein held the money for them at the Chemical Bank in New York City and paid it to them over periods of time of up to 20 years. Klein invested that money, which earned far more than Klein was obligated to pay to his clients, and he kept the difference in the accounts, thereby maintaining control over the money.

The Rolling Stones
In the spring of 1965 Andrew Loog Oldham, co-manager of the Rolling Stones, saw in Klein a terrific business adviser and ally, one who could help him win an incipient power struggle with Eric Easton, a music business veteran who was then the other half of the band's management team. Barely 21, Oldham was profoundly important in the development of the Stones' image, and in initiating the songwriting partnership of Keith Richards and Mick Jagger. After some management mishaps, blame for which fell at Easton's feet, and Jagger's ascension in the band's hierarchy following "(I Can't Get No) Satisfaction", the Stones' first number one record in the United States, Oldham sought and received Jagger's blessing to bring Klein aboard for re-negotiation of the group's contract with Decca Records. The label offered the band the opportunity to make $300,000 if their records continued to sell. Klein countered with, and quickly secured, an arrangement paying the Stones twice as much, in the form of an advance. He also forced London Records, Decca's American subsidiary, to sign a separate contract. It too was for $600,000. By the time Klein subsequently re-negotiated the deal one year later, Easton having been removed as co-manager, the Stones were guaranteed $2.6 million—more than the Beatles were making.

When Klein examined the Stones' management contract with Easton and Oldham he found that the two were receiving a disproportionate share of the group's income: not only did Easton and Oldham receive an 8 percent royalty on sales of the Stones' singles—the Stones themselves received only 6 percent—but they also received a 25 percent commission on the Stones' income. At Klein's insistence, Oldham increased the Stones' royalties to 7 percent and relinquished his commission. Klein offered the Stones a million-dollar minimum guarantee, paid over a 20-year period to reduce the Stones' tax liability, to let him become their music publisher, based on his faith in the Jagger-Richards songwriting team. He also arranged for a level of tour support and publicity far above anything the band had ever previously experienced for the Stones' 1965 American tour in support of the album December's Children.

Jagger, who had studied at the London School of Economics, gradually became distrustful of Klein, particularly for the latter's ability to insert himself as a profit participant in the group's ever-growing financial affairs. For example, in 1968 Klein very profitably bought out Oldham's share in the band for $750,000. By 1968 the Stones were so concerned with how their finances were being handled by Klein that they hired a London law firm, Berger Oliver & Co, to look into their financial situation and Jagger hired the titled merchant banker Prince Rupert Loewenstein to be his personal financial adviser. Another possible factor in the Stones' dissatisfaction with Klein was that when the latter began to manage the Beatles he focused more of his attention on that band's affairs than on the concerns of the Stones. In 1970, on the occasion of needing to negotiate a new contract with Decca, Jagger announced that Klein would be replaced as manager by Loewenstein.

The split between Klein and the Stones led to years of litigation. In 1971 the Stones sued Klein over U.S. publishing rights. The suit was settled the following year, with the Stones receiving $1.2 million as a settlement of all American royalties earned up to that point (and was essentially the $1.25 million advance that Decca had paid the Stones in 1965 that Klein had been withholding since August 1965). However, the Stones were unable to break their contract with Klein, who held an additional $2 million of the Stones' money to be paid over a 15-year period, ostensibly for tax purposes. Klein's company, ABKCO, continued to control the rights to publish the Stones' music and it was Klein who made a fortune off the band's all-time best-selling album, Hot Rocks 1964–1971.

In 1972, Klein alleged that some of the songs on their album Exile on Main Street had been composed while the Stones were still under contract with ABKCO. As a result, ABKCO acquired ownership of the disputed songs and was able to publish another Rolling Stones album, More Hot Rocks (Big Hits and Fazed Cookies). In 1974 negotiations over royalties led to a payment of $375,000 to the Stones and ABKCO's release of an additional Rolling Stones album, Metamorphosis. In 1975 more lawsuits and negotiations resulted in a $1 million payment to the Stones for non-payment by Klein of songwriting royalties, and the release of four Rolling Stones albums including Rock and Roll Circus and Rolled Gold: The Very Best of the Rolling Stones. In 1984 Jagger and Richards sued to break their publishing agreement with ABKCO because of non-payment of royalties. The judge encouraged the two sides to reach a settlement.

Starting in 1986, when the introduction of compact discs brought great profits to the music industry, relations began to improve between Klein and the Stones. In 2002, the Stones' album Forty Licks and the Licks Tour, celebrating the band's 40th anniversary, incorporated songs owned by ABKCO. The Stones agreed to a five-year payment plan suggested by Klein's son, Jody. In 2003, Klein negotiated with Steve Jobs to make ABKCO's Rolling Stones songs available on iTunes.

Cameo-Parkway and ABKCO
In February 1967, with an eye toward producing films and finding a way to invest his clients' money, Klein attempted to acquire Metro-Goldwyn-Mayer. His hopes were blunted when Edgar Bronfman, Sr., heir to the Seagram fortune, instead took control of the firm. Klein then turned his attention to Cameo-Parkway Records, a Philadelphia-born, Los Angeles-based label which had enjoyed hits in the late 1950s and early 1960s, thanks to Chubby Checker, Bobby Rydell, Dee Dee Sharp and others, but which by 1967 was no longer prospering. It was one of the first publicly traded record companies, making it ideal for a financial maneuver Klein had in mind, known as a reverse acquisition. It was meant to take Allen Klein and Company public via its being acquired on paper by Cameo-Parkway. By July 1967, Klein and his associate Abbey Butler had acquired a controlling interest and filed to rename Cameo-Parkway as ABKCO, which is an acronym for "The Allen and Betty Klein Company." Fueled by speculation, the stock price increased from $1.75 a share in July 1967 to a peak of $76 3/8$ in February 1968 before the SEC halted trading. The American Stock Exchange declined to reinstate the stock; instead, ABKCO continued to trade over the counter, and the stock price dropped to more realistic levels. In 1987, Klein made ABKCO a privately held company.

The Beatles
In 1964 Klein approached the Beatles' manager, Brian Epstein, with an offer for the Beatles to sign with RCA for $2 million but Epstein was not interested, saying that he was loyal to EMI. After Epstein died in August 1967, the group formed Apple Corps in January 1968. They hoped it would provide the means for correcting Epstein's unfortunate business decisions, which had both limited their incomes and ensured high tax burdens. Although "Hey Jude", the Beatles' first Apple release, was an enormous success, the label itself was a financial mess, with little accountability for how money was being spent.

Klein contacted John Lennon after reading his press comment that the Beatles would be "broke in six months" if things continued as they were. On January 26, 1969, he met with Lennon, who retained Klein as his financial representative, and the next day met with the other Beatles. Paul McCartney preferred to be represented by Lee and John Eastman, the father and brother respectively of McCartney's girlfriend Linda, whom he married on March 12. Given a choice between Klein and the Eastmans, George Harrison and Ringo Starr preferred Klein. Following rancorous London meetings with both Eastmans, in April, Klein was appointed as the Beatles' manager on an interim basis, with the Eastmans being appointed as their attorneys. Continued conflict between Klein and the Eastmans made this arrangement unworkable. The Eastmans were dismissed as the Beatles' attorneys, and on May 8 Klein was given a three-year contract as business manager of the Beatles. McCartney refused to sign the contract but was outvoted by the other Beatles.

Once in charge of Apple, Klein fired a large number of the organization's employees, including Apple Records president Ron Kass, and replaced them with his own people. He closed Apple Electronics, which was headed by Alexis Mardas. Mardas resigned his directorship in May 1971. Klein's attempt to fire Neil Aspinall, a longtime confidant of the Beatles, was immediately thwarted by the band.

Klein was hit with his first crisis in managing the Beatles when Clive Epstein, brother of Brian Epstein and chief heir to NEMS, the management company his brother had founded, sold NEMS to Triumph, a British investment group managed by Leonard Richenberg. NEMS held a 25% stake in the Beatles' earnings, which Klein as well as the Beatles themselves desperately wanted to buy out. This led to tough negotiations with Triumph. Klein ultimately secured the Beatles' rights in their previous work for just four annual payments amounting to 5% of their earnings. However, in the lead-up to those negotiations Richenberg commissioned a hostile investigative report on Klein, which The Sunday Times ran under the headline "The Toughest Wheeler-Dealer in the Pop Jungle".

An even more important battle to secure the Beatles a financial situation commensurate with their worldwide popular acclaim was with Northern Songs Ltd., the publishing company. Northern Songs was managed by Dick James, whom Brian Epstein had rewarded with the Beatles' publishing rights in return for his helping them get placed on a TV show, Thank Your Lucky Stars, early in their career. But James had constructed a contract that gave him an outsized share, and Epstein had not understood its implications. James knew that Klein would soon eliminate his perks, so he quickly offered to sell Northern Songs to ATV, run by entertainment mogul Lew Grade, rather than allow Lennon and McCartney an opportunity to buy back publishing rights to their own songs. Klein worked feverishly to pull together a consortium which would beat Grade's offer, but ultimately his efforts were derailed by infighting between McCartney and Lennon themselves.

In September 1969, while Klein was in the midst of renegotiating the Beatles' unsatisfactory recording agreements with EMI, Lennon told him of his plans to quit the group. It was agreed that this was the wrong time to either make or announce such a move. EMI was loath to re-negotiate, but their American subsidiary, Capitol Records, was so impressed by Abbey Road that they agreed to vastly improved royalty terms. McCartney joined his bandmates in endorsing the deal Klein had secured.

Abbey Road proved to be the Beatles' last true collaboration, but Klein recognised an opportunity in the band's shelved January 1969 album and related documentary project, both titled Get Back, to get another album release out of the splintered group while also fulfilling their obligation to provide one more film to United Artists, the studio that had previously released both A Hard Day's Night and Help! Phil Spector, the producer famous for his "wall of sound" recordings with artists such as the Ronettes and the Righteous Brothers, was eager to sign on as producer for the album, which was eventually titled Let It Be. McCartney did not approve of Spector, but the other Beatles did. This proved to be McCartney and Klein's last face-to-face meeting. However, Apple made $6 million in the first month following the May 1970 release of the record and the film.

Unhappy with production decisions on the Let It Be album and the other Beatles' decision to hire Klein as their manager, McCartney went public with his plans to leave the Beatles in April 1970. He wanted to be released from his partnership with Lennon, Starr, and Harrison, who had in recent months proved a steady three-to-one majority against McCartney's proposals. The Eastmans convinced McCartney to file suit against his former bandmates for dissolution of the Beatles' partnership, which he did on December 31, 1970.

The judge ruled in McCartney's favor in March 1971. He decided that the combined financial affairs of the former Beatles should be placed in the care of a receiver until mutually acceptable terms for their break-up could be found. Klein thereby retained a position in the post-breakup solo careers of Harrison, Starr, and Lennon, but was no longer in charge of their affairs as a partnership.

Solo Beatles
For the first few years after the Beatles' contentious break-up, George Harrison was widely seen as the most accomplished and artistically successful former Beatle. His November 1970 three-disc set, All Things Must Pass, was a sales triumph, and produced hit singles in "My Sweet Lord" and "What Is Life". In the spring of 1971, Harrison learned from his friend and mentor, Ravi Shankar, about the desperate people of Bangladesh, who had been devastated both by military violence and a vicious cyclone. Harrison immediately set about organizing an event which would take place in Madison Square Garden within just five weeks—the Concert for Bangladesh—from which a live album could raise further funds for the Bangladeshi refugees. Klein hustled to get the invited artists, including Bob Dylan and Eric Clapton, to play for free while donating their shares of royalties to charity, and convinced Capitol Records to grant an unprecedented 50% royalty rate. The Concert for Bangladesh live album and film raised over $15 million. Klein had failed to register the shows as a UNICEF charity event, however; as a result, the proceeds were denied tax-exempt status in Britain and the US. The IRS attempted to tax the income, and $10 million of that amount was held back for years.

Both Harrison and John Lennon soon became disenchanted with Klein. By mid 1972, Harrison was incensed at the outcome of Klein's handling of the Bangladesh relief effort. Aside from the question of its charity status, unwelcome attention had been drawn to the project after an article published in New York magazine accused Klein of pocketing $1.14 on each copy of the live album (priced at $10) —allegations that raised suspicions among the three former Beatles with regard to his conduct in their business affairs. Lennon also felt betrayed by Klein's lack of support for his and Yoko Ono's increasingly politically focused work, which was typified by the couple's 1972 album Some Time in New York City. In early 1973 Lennon, Harrison and Starr served notice that they would not be renewing Klein's management contract when it expired in March. Early the following month, Lennon told an interviewer: "Let's say possibly Paul's suspicions were right … and the timing was right."

Klein responded by suing the Beatles and Apple in New York, in order to recoup the loans he had made to his three former clients and other costs owing to ABKCO. They then sued him in the London courts, citing excessive commission fees, the mishandling of the Concert for Bangladesh, his misrepresentation of their individual financial standings, and his failure to ensure that the roster of artists at Apple Records prospered under his control. While the suits were ongoing, Klein made a play for the US portion of Harrison's publishing company, Harrisongs, in late 1974, without success. He also attempted to influence the outcome of Lennon's arrangement with music publisher Morris Levy regarding an alleged copyright infringement (of the Chuck Berry song "You Can't Catch Me") in Lennon's 1969 Beatles composition "Come Together". Lennon's song "Steel and Glass" from the 1974 album Walls and Bridges was his thinly veiled dig at Klein.

Klein's 1973 lawsuit against the Beatles was settled out of court in January 1977, with Ono representing the former bandmates. Klein received a lump sum payment of approximately $5 million in lieu of future royalties and as repayment of the loans that ABKCO had made to the Beatles.

Harrison had been sued for copyright infringement in 1971 because of the alleged similarity of his song "My Sweet Lord" to "He's So Fine", which had been recorded by the Chiffons in 1963 and was owned by Bright Tunes Music. The case was still pending in 1976; as an alternate strategy to access Harrison's US publishing, Klein now purchased Bright Tunes and thus became the plaintiff in the lawsuit against Harrison. The judge ruled that Harrison had infringed on Bright Tunes' copyright, and the ruling was upheld on appeal. The judge initially assessed damages of $2,133,316, which Harrison would have to pay to Klein, then reduced the figure to $1,599,987, but finally ruled in 1981 that Klein still had a fiduciary responsibility to Harrison and should not be allowed to profit from his acquisition of Bright Tunes. Klein was ordered to hold "He's So Fine" in trust for Harrison provided that Harrison reimburse him the $587,000 that it had cost Klein to purchase the company.

Films and theater
The multi-Academy Award-winning 1955 film Marty, an independently produced movie that undercut the Hollywood studio system, provided a business template which Allen Klein closely studied and later adapted to the recording industry. In the late 1950s Klein shared an office with press agent Bernie Kamber, who represented Burt Lancaster, one of Marty producers. Klein absorbed much from Kamber on how the producers had structured their business model, a paradigm whose strength derived from the fact that artists, not film studios or record labels, drove marketplace success and that intense preparation and canny negotiation could lavishly reward artists and their representatives. In 1961 Klein did accountancy work for an independent film, Force of Impulse, where he formed lasting relationships that he would turn to for many film projects of his own. In 1962 Klein produced a film called Without Each Other. He took it to the Cannes Film Festival and later claimed that it had won the "Best American Picture Award" there, though no such award existed. A distributor never materialized, but Klein's enthusiasm for film persisted.

Starting in 1967 Klein produced four films in the Spaghetti Western genre, a lean-and-mean style of cowboy movie with taciturn heroes and explosive violence. Klein utilized actor Tony Anthony, whom he'd met on Force of Impulse, in all four. Their films included a trilogy comprising A Stranger In Town, The Stranger Returns (1967), and The Silent Stranger (shot in 1968 but not released until 1975 by United Artists). Blindman (1970) featured Ringo Starr as a Mexican bandit, Anthony as its lead, and Klein as an extra. The first two "Stranger" films were released by MGM, the studio where Klein produced Mrs. Brown, You've Got a Lovely Daughter starring the popular Herman's Hermits. Klein, who had tried to purchase MGM in the mid '60s, became involved with a lawsuit against MGM with each accusing the other of not performing on their contracts with each other.

In 1971, John Lennon directed Klein's attention to El Topo, a surrealistic western by the Chilean director Alejandro Jodorowsky. Inspired by Lennon's enthusiasm, Klein bought the film and put it in American release. He then produced and financed Jodorowsky's next film, The Holy Mountain, an allegorical journey with psychedelic overtones. Later the producer and the director's planned collaboration on a proposed film version of Story of O was halted when Jodorowsky refused to make the film and to return substantial advance monies. Klein retaliated by withdrawing both El Topo and The Holy Mountain from distribution. In 2008 Jodorowsky released the films in Europe and was sued by Klein. After a face-to-face reconciliation between the two men Klein dropped his lawsuit and ABKCO released the films on video, paying Jodorowsky to remaster them.

Klein's legs appeared in Lennon and Yoko Ono's 1971 film Up Your Legs Forever. With George Harrison, Klein co-produced the 1972 concert film The Concert for Bangladesh. Klein also produced the 1978 film The Greek Tycoon, in which Anthony Quinn and Jacqueline Bisset played characters based on Aristotle Onassis and Jacqueline Kennedy. In the early 1980s Klein produced two Broadway plays. It Had to be You, a romantic comedy starring Renée Taylor and Joseph Bologna, ran for barely a month. Next Klein produced The Man Who Had Three Arms, written by Edward Albee. Although Albee had also written big successes in The Zoo Story and Who's Afraid of Virginia Woolf?, the play Klein produced had an even shorter run than his previous attempt.

Criminal conviction and jail time
In 1977, Klein and ABKCO's former head of promotion, Pete Bennett, were each charged with three felony counts of income tax evasion for 1970, 1971, and 1972, and related misdemeanor counts of making false statement on their income tax returns for each of those years. The IRS, which had been investigating Klein for several years, claimed that Klein and Bennett had sold promotional copies of Beatles and post-Beatles albums—common practice in the music industry at the time—without declaring the sales on their tax returns. Klein was alleged to have received over $200,000. Bennett pleaded guilty to a single misdemeanor charge and became a witness against Klein. Klein testified that he had not instructed Bennett to sell promotional copies of albums and that although he'd received cash payments from Bennett the payments were a return of cash advances which Bennett had been given. Klein's first trial ended in a mistrial because the jury was deadlocked. At his second trial in 1979, the jury found Klein not guilty of the felony charges, but guilty of a single misdemeanor charge for false statements on his 1972 tax return. Klein was fined $5,000 and sentenced to two months in jail, which he served in July–September 1980.

Phil Spector
In 1988 Klein began managing Phil Spector's business affairs, including his publishing and recording assets. Although Spector had not been active as a producer for several years, his early work was still frequently broadcast and also licensed for film soundtracks. Spector's publishing company, Mother Bertha Music, Inc, was controlled by Trio, a Jerry Leiber and Mike Stoller company, which was in turn administered by Warner/Chappell Music. Warner/Chappell was making appropriate payments, but significant amounts were not being passed on to Spector. Klein's goal was to get Spector all the money owed him, and also to wrest a concession allowing Spector to co-administer the future licensing of his music. Klein and Spector brought suit in federal court, where a courtroom win would secure the first goal but not the second. Klein accordingly then advised a settlement strategy which proved successful.

The Verve
On their 1997 single "Bitter Sweet Symphony", the English band the Verve sampled a 1965 orchestral version of the Rolling Stones song "The Last Time" by the Andrew Oldham Orchestra. Klein, who owned the copyrights to the Rolling Stones' early work, refused clearance for the sample; following a lawsuit, the Verve ceded the songwriting credits and royalties. In 2019, Klein's son and the Rolling Stones returned the credits and royalties to Richard Ashcroft of the Verve.

The song became a hit, popular for use at sporting events, and it was a big money-maker for ABKCO, which licensed its use for commercials advertising Nike shoes and Opel automobiles.

Death
Klein was diagnosed with diabetes at age 40. He suffered several heart attacks over the years, of varying severity. In 2004, the same year that ABKCO collected a Grammy Award for a Sam Cooke documentary, Legend, Klein fell and broke bones in his foot, requiring surgery. He was subsequently diagnosed with Alzheimer's disease. He died on July 4, 2009 in New York City. The cause of his death was respiratory failure. Yoko Ono and Sean Ono Lennon attended Klein's funeral. Andrew Loog Oldham commented at a subsequent memorial service that Klein had greatly magnified the success of the Rolling Stones.

In June 2015, American journalist Fred Goodman published a biography of Klein, Allen Klein: The Man Who Bailed Out the Beatles, Made the Stones, and Transformed Rock & Roll.

Legacy
In the 1978 television mockumentary The Rutles: All You Need is Cash, which parodies the career of the Beatles, Allen Klein is portrayed as "Ron Decline", played by John Belushi. Introduced as "the most feared promoter in the world", Decline is so intimidating to his colleagues that they choose to throw themselves out of skyscraper windows rather than face him.

In his book You Never Give Me Your Money: The Battle for the Soul of the Beatles, Peter Doggett says that Klein has come to be seen as one of the controversial "intruders" in the Beatles' story. Doggett writes:

Suspected for their motives, hated for their disruptive power, they all arrived from America and were all regarded as suspects for the crime of breaking up the Beatles, on the assumption that without them the group would have continued happily in each other's company until their dying days. The first of these intruders was Yoko Ono; the second was Linda Eastman; and the third was Allen Klein.

With the possible exception of Alexis Mardas, who occupied a far less central role, nobody in the Beatles' milieu has received a more damning verdict from historians than Allen Klein. He was, one said, "a tough little scorpion"; for another, "fast-talking, dirty-mouthed … sloppily dressed and grossly overweight"; again, "short and fat, beady-eyed and greasily pompadoured". Beatles aide Alistair Taylor said, "He had all the charm of a broken lavatory seat" ... So consistent was the vilification that when biographer Philip Norman merely described Klein as "a tubby little man", it sounded like a compliment.

… No such rehabilitation [as was later afforded Ono and Eastman] was available for Allen Klein, who entered the Beatles' story as a villain from central casting, and never escaped that role. Yet we are asked to believe that three of the four Beatles found this "beady-eyed" "grossly overweight" "scorpion" such an attractive figure that they were prepared to trust him with their futures. Clearly the Demon King didn't always exude the stench of sulphur.

title: Allen Klein


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Golden Centennaires

The Golden Centennaires were a Royal Canadian Air Force (RCAF) aerobatic flying team that performed in 1967, the Canadian Centennial year. The team was created to celebrate the Canadian Centennial. The eight-plane formation team, commanded by Wing Commander O. B. Philp C.M., DFC, CD, featured six-plane formations alternating with two solo aircraft. The aircraft used was the CT-114 Tutor, which sported a blue and gold paint scheme.

The Golden Centennaires performed 103 shows in Canada, including the opening and closing ceremonies of Expo 67 in Montreal, seven shows in the United States, and two shows in the Bahamas. The team was disbanded after the last show of the season, but the aircraft were used a few years later to form the Snowbirds, Canada's current national team.

Accompanying the Golden Centennaires were an Avro 504, a CF-104 Starfighter and a CF-101 Voodoo. All of these aircraft performed at the Centennial airshows.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Golden Centennaires


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Talk:Jersey City, New Jersey

Diversity
July 6, 9:22 PM The links added by 68.175.76.246 on July 6 to newportnj.com probably should be removed. The actual in-story link is poor formatting and the external link at the end is not a link to any sort of Newport web site, but a commercial web site for residential and commercial property in Newport. - TimSPC

Someone biased deleted the following:

"-Jersey City is arguably the most ethnically and culturally diverse city in the country, if not the world, with an almost equal mix of non-Hispanic whites, non-Hispanic blacks, Asians, and Latinos. It has one of the largest Arab and Muslim populations and proportions of any city in the nation, one of the largest Asian proportions of any American city, and one of the largest proportions of various Latino and Hispanic ethnicities of any city outside the nation's southwest. It also has higher-than-average numbers of Jews, Italians, Cubans, Indians, and Irish than most cities in the nation."

So, I readded it. Sources:

http://www.city-data.com/top35.html

(note, in this list "diversity" is ranked by places with the lowest percentages of "non Hispanic whites"--OK, so a city with 90% blacks and 10% non-Hispanic whites is supposed to be considered "more diverse" than a city with a mix of all races, INCLUDING whites? This stupid logic is the only reason Honolulu, or any of those other "cities", appear "more diverse" than JC on this list.)  Compare Jersey City's "racial" percentages to ANY other city on that list: black, white, and Hispanic are the 3 largest groups, and are essentially equal in proportion; these three are followed by the various Asian groups, which total 16% of the population, a larger proportion of Asians than in most cities with large Hispanic and/or black populations.

Races in Jersey City:

Black (28.3%) Hispanic (28.3%) White Non-Hispanic (23.6%) Other race (15.1%) Filipino (6.6%) Two or more races (5.8%) Asian Indian (5.4%) Chinese (1.5%) Other Asian (1.3%) American Indian (1.0%) Vietnamese (0.7%) Korean (0.6%)

No other city, especially one of the US' top 100, has quite a varied mix. And VARIETY is what "diversity" really is. A city that is 85% Mexcian-American or 60% Japanese-American is NOT "diverse" simply because it lacks Caucasian people.

Jersey City's Ancestries: Italian (6.6%), Irish (5.6%), Polish (3.0%), Arab (2.8%), German (2.7%), West Indian (2.4%).

This shows that even among Caucasians there is a mix, and that there are sizeable Arab and West Indian populations (groups that are often missing from most American cities). I'm hard-pressed to find an ethnic/cultural group that is NOT faily represented in Jersey City. It's highly unlikely that there's another city in the nation or the world that has such a blend of everyone. I've never come across it personally. If anyone can find America's, or the world's, real MOST DIVERSE city, then the info about JC being it should be removed, and the real most diverse city's article should be updated with the info. However, someone just removed the fact that JC is the nation's most diverse because of bias, and that's inexcusable!

Also, this site:

http://www.urbanplanet.org/forums/index.php?showtopic=12363

Think about what this means: other than these 6 cities, NO PLACE in America has at least 10% of their population among European-Americans, African-Americans, Asian-Americans, and Hispanic-Americans. Even compared to the five California cities listed, Jersey City is incredibly more diverse. It has a higher proportion of Asians than all but Stockton, a higher proportion of blacks than all but Oakland, and is not nearly as biased towards Hispanic and white groups as the Cali cities but still is nowhere near being a "non-white" or a "non-Hispanic" city. Plus, like I said, its diversity even among its white/Caucasian population surpasses the Cali cities, since it includes Italians, Polish, German, and a variety of European groups, as well as far larger numbers of Jews and Arabs than are present on the west coast. (NJ, mostly because of its eastern cities and suburbs like Jersey City is the state with the 2nd largest percentage of both Jews and Arabs/Muslims.)

Scroll down to the bottom thread of this forum, and you'll see someone else quoted the list of "Top 100 Most Diverse" cities. He erroneously states that the percentage used to rank them is the "percentage of the largest racial group". Incorrect! The reason so many small Hawaii and California towns are around, and even ahead of, Jersey City is because this listing is biased towards Asians. Take the "most diverse" city, for example. Summing only its Fillipino and Japanese populations, we arrive at over 28%. Add in the other Asians, and we're looking at probably 50% Asian, which is what the "race" of these people really is. If we're going to count Vietnamese, Thai, Chinese, and Japanese as separate "races", then we also have to count Italian, Irish, German, Dominican, Colombian, Jamaican, etc, as "races"--they're not. They're ethnicities. That listing's counting each Asian nationality as a different "race" is the only reason any city seems more diverse than Jersey City, which "only" has a combined Asian total of 16%.

 * Nice work, but "Jersey City is highly ethnically diverse" would seem sufficient. I don't see value in a label like "most ethnically diverse." --Tysto 14:13, 2005 August 3 (UTC)

Mayor
The mayor of Jersey City is Jerramiah Healy. There is someone pulling some shenangians. If you revert, make sure you revert back to the correct information. -TimSPC

Satellite Maps
Hi!

I added two color map linx to the bottom.

Enjoy them.

Supercool Dude

Edits by 209.244.172.107
Looks like someone with The Lefrak organization is trying to put their sales pitch up here. I cleaned it up a bit, but it needs more. Tim Aug 27

Newark Ave?
I was wondering if the area on Newark Ave west of five corners had a name of its own or ifs just considered part of Journal Square. Nevermind

title: Talk:Jersey City, New Jersey


text:
Pub session

A pub session (seisiún in Irish; seisean in Scottish Gaelic; seshoon in Manx Gaelic) is performing music in the setting of a local pub, in which the music-making is intermingled with the consumption of ale, stout, and beer and conversation. Performers sing and play traditional songs and tunes from the Irish, English, Scottish and Manx traditions, using instruments such as the fiddle, accordion, concertina, flute, tin whistle, uilleann pipes, tenor banjo, guitar, and bodhrán. Some sessions have dancing too.

History
Singing and consuming alcohol have been practised together from ancient times, but the written evidence is fragmentary until the 16th century. In Shakespeare's Henry IV, Hal and Falstaff discuss drinking and playing the "tongs and the bones". There are depictions of pub singing in paintings by Teniers (1610–1690), Brouwer (1605/6-1638) and Jan Steen (1625/5-1656).

1800 to 1950
The 1830 Beer Act abolished the levy on beer - within a single year 400 new pubs opened, and within 8 years there were 46,000. This number peaked in the 1870s and declined after 1900. By the 1850s, an increasing number of student songs and commercial song-books were published across Europe. The most famous was the Scottish Students' Song Book by John Stuart Blackie (1809–1895). The mixture of traditional songs with hints of erotic humour continues to this day. The Irish tradition also benefited from the compilation of O'Neill's Music of Ireland, a compilation of 1,850 pieces of Irish session and dance music, published initially by Francis O'Neill (1848–1936) in 1903.

One of the most popular drinking songs, "Little Brown Jug," dates from the 1860s. By 1908 Percy Grainger had begun to record folk singers, but not in their natural habitat—the pub. In 1938 A.L. Lloyd persuaded his employers at the BBC to record the singers in the Eel's Foot pub in Eastbridge, Suffolk.

At The Eel's Foot, 1939–47, the songs performed included: "False Hearted Knight", "The Dark-Eyed Sailor", "The Princess Royal", "The Foggy Dew", "Underneath Her Apron", "Pleasant and Delightful", "The Blackbird." Surprisingly, one of the songs was "Poor Man's Heaven" an American IWW song (Industrial Workers of the World), dating from about 1920. The oldest singer there was William "Velvet" Brightwell (1865–1960). In 1947 the BBC made more recordings there and broadcast them as "Anglia Sings" on 19 November 1947. Almost all of the participants were in their 50s and 60s. Six years later the first folk club opened in Newcastle upon Tyne, and the average age was in the 20s.

Instruments

The fiddle has predominated since the 17th century. The melodeon became popular in the 1890s. By the 1950s the accordion took over, particularly in Scotland. By the 1960s the guitar was the instrument most frequently heard in a pub. Nowadays so many people can afford instruments that ensemble playing is the norm. Celtic tunes are popular, even in England, however English music is enjoying a large revival currently, due in part to 'new-folk' artists playing traditional English music, such as Bellowhead and Eliza Carthy. Some people go to folk festivals simply in order to play along with others in the beer tent.

Choosing an instrument
Each session has its own informal rules as to which instruments are acceptable and in what number. Some sessions may have a strict "'traditional' instruments only" rule whereas others will accept anyone who shows up to play with any instrument. The word traditional is used loosely as sessions themselves are a relatively recently revived phenomenon and some instruments considered 'traditional,' such as the bouzouki are in fact relatively new to the genres played at a session. It is wise to ask about what is expected at a particular session before bringing a non-'traditional' instrument.

Generally there can be an unlimited number of fiddles, flutes, accordions and tin whistles. The bodhrán is common in Irish sessions, but many sessions prefer that only one person play the bodhrán at a time. Uilleann pipes are common in Irish sessions, but the more commonly known Great Highland Bagpipes are never used in a session, because they drown out other instruments. Mandolins, banjos, citterns and bouzoukis are welcome in moderation. Guitars and dulcimers are frequently allowed in sessions without strict "'traditional' instruments only" rules.

Etiquette
There are "open sessions", when anyone who wishes can play, and "closed sessions", where the playing is restricted to a group. The general rules are fairly simple, but depend on the kind of session. In general, pub sessions are not places for learning an instrument. It is expected that those taking part have attained competence in playing their instrument. Some sessions are wholly instrumental while others will engage the crowd with singing. It is customary to introduce oneself to the other participants before joining in. There will usually be a leader or oldest member who sets the tone and keeps the session running smoothly; often leader(s) do not appear to be leaders at all. Occasionally, even the leaders of a session may not realize that they lead.

Practically, however, there are always leaders at a session, by the nature of human dynamics. Some sessions follow a round-robin structure, others have a more free-for-all approach, and the leader(s) of a session should be observed to see how this particular session is run. Due to freeform nature of the session, there is always an element of serendipity and there is an atmosphere of anticipation and an expectation of tolerance from all present.

It is frowned upon when one openly criticises people who know only one song or only a few tunes. Sessions are occasions to be enjoyed by all participants, and if others are accepted members of the group, it is not up to one person (other than the leaders of the session) to decide that they are not welcome.

Legal considerations
In England and Wales the Licensing Act 2003 came into force in 2005. It could be interpreted as meaning that any performer would be obliged to give prior notification to police, fire brigade and environmental health. Following much lobbying by various groups, the law settled down to allow "spontaneous" events and religious events.

title: Pub session


text:
Menshikov

Menshikov may refer to
 * Menshikov (surname)
 * Menshikov Island in the Sea of Okhotsk
 * Menshikov Atoll, a former name of Kwajalein Atoll, part of the Marshall Islands
 * Menshikov Palace (Saint Petersburg)
 * Menshikov Tower in Moscow, Russia

title: Menshikov


text:
Laburnum, Victoria

Laburnum refers to a small area in the 'Bellbird' area of the suburb of Blackburn, Victoria, Australia. It covers the area bordered by Middleborough and Blackburn Roads, Gardiners Creek and the Belgrave/Lilydale railway line. It is a heavily treed area noted for its Laburnum bushes. It is in the local government area of the City of Whitehorse in Melbourne's eastern suburbs.

The area is covered by strict planning controls. This has limited development and meant it has been able to retain a village feel, despite only being a short train ride from downtown Melbourne. It has a railway station, primary school, and post office, despite never being a suburb (technically, it is a "neighbourhood").

The Blackburn Creeklands park is an important community asset of Laburnum providing for both recreation and a wildlife corridor. In 1983, the then Nunawading Council the purchased the middle section of land that integrates and links Blacks Walk, Kalang and Furness Parks into today's long, linear park following Gardiners Creek from Middleborough to Blackburn Roads.

title: Laburnum, Victoria


text:
Talk:Jang Na-ra

Untitled
McCune-Reischauer should be Chang not Ch'ang Kappa 08:10, 16 Dec 2004 (UTC)

Formal addressing
Jang is often addressed as Jang Nara, rather than Jang Na-ra or other variants. I am suggesting to move this page to Jang Nara. Mr Tan 15:57, 3 November 2005 (UTC)

"Cpop"
Jang Nara also sings in Mandarin Chinese. Shouldn't this be mentioned? -- TonyM ｷﾀ━( °∀° )━ｯ!!  17:32, 22 June 2006 (UTC)
 * Yes, and, I read an article about how the PSB stated that they were fans of Jang Nara while she was filming the first 30 episodes of Tricky Rough Princess in PRC, KBS News which is sort of like the White House reporting that George W Bush was a big Bob Seger fan. She has also been named an official international ambassador of China in Korea.Koreacontent.  And, this article needs more pictures.  --McTrixie/Mr Accountable 12:19, 3 December 2006 (UTC)

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BetacommandBot (talk) 19:56, 26 November 2007 (UTC)

 * I've fed the bot. TJRC (talk) 21:01, 26 November 2007 (UTC)

Botched format
An editor made this edit:, which is fine, content-wise, but botches up the formatting of the discography something terrible. Can someone who understands the table markup please repair this? 19:44, 2 September 2008 (UTC)

Chronological order
I've noticed that in Wikipedia lists and tables of filmographies, etc., sometimes the items are listed from most recent to first, and sometimes from first to most recent. Is there a preferred or prescribed direction? This article has one list in one direction and the second in the other. —Preceding unsigned comment added by SemblaceII (talk • contribs) 19:03, 4 July 2010 (UTC)

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title: Talk:Jang Na-ra


text:
Alexander Menshikov

Alexander Menshikov may refer to:

 * Alexander Danilovich Menshikov (1673–1729), Russian statesman
 * Alexander Sergeyevich Menshikov (1787–1869), Finnish-Russian nobleman
 * Alexander Alexandrovich Menshikov (1714–1764), officer in the Russian army

title: Alexander Menshikov


text:
Fred Baker (soldier)

Lieutenant Colonel Frederick Baker DSO (19 June 1908 – 1 June 1958) was a New Zealand soldier who served in the Second World War, leading the 28th (Māori) Battalion from 13 July to 2 November 1942. He was injured at the commencement of the Second Battle of El Alamein and his wounds were such that he was repatriated back to New Zealand. He later worked in New Zealand's public service, leading the Rehabilitation Department which assisted servicemen returning from the war into civilian life, by providing them with finance, training and housing.

Early life
Frederick Baker was born in the Hokianga, in the north of the North Island of New Zealand, on 19 June 1908 to a bushman and his wife. Of Ngāpuhi descent (via his mother), he attended local schools in the area. Entering the public service after completion of his education, he worked for the Public Works Department based in Whangārei before moving to Hamilton in 1928. He became an accountant, qualifying in late 1931. He transferred to Wellington in 1933, working for the Audit Office and in the same year, married Edna Mavis Carrie. The couple would go on to have two children. By 1935, he was working for the Mortgage Corporation of New Zealand.

Military career
Baker had joined the Territorial Forces in his late teens and served with the Northland and Waikato Mounted Rifles as a lieutenant. When he moved to Wellington for work in 1933, he became a reserve officer due to the absence of mounted rifle units in Wellington. Having maintained an interest in the military and concerned by the increasing likelihood of war, in May 1939 he requested to be placed on the active list.

Second World War
It was not until November 1939 that a role was found for Baker, as intelligence officer of the 28th (Māori) Battalion, then in the process of formation. However, Baker himself never particularly identified as being Māori. In May, the battalion embarked for the Middle East to join the first echelon of the 2nd New Zealand Division in May 1940 but were diverted for defensive duties in England. By early 1941, the threat of invasion by the Germans had eased and the battalion was finally shipped to Egypt to join up with the rest of the division. Baker in the meantime, had been promoted to captain and placed in command of the battalion's headquarters company.

Greece and Crete
As the battalion trained at its base in Helwan in preparation for the battalion's impending move to Greece, reinforcements from New Zealand arrived to fill the ranks, depleted by illness. Baker was placed in command of the excess troops, which had been formed into a reinforcement company. When the battalion arrived in Greece on 27 March 1941, Baker's company was responsible for the battalion's advance base outside of Athens. Attached to the 5th Infantry Brigade, the battalion made a good account of itself defending its assigned portion of the Olympus Pass against elements of the 9th Panzer Division but were forced to withdraw from its positions on 17 April. Baker, having been tasked by Brigadier Edward Puttick, the commander of the 4th Infantry Brigade, with the collection of stragglers, was captured by German paratroopers. He managed to escape and, falling in with a truckload of Greeks, returned to Puttick's headquarters. He was once more ordered to collect stragglers (this time with infantry support) and direct them to the Porto Rafti beaches in preparation for embarkation for Crete.

On Crete, Baker was assigned to the battalion's D Company. He participated in the various defensive actions around Maleme airfield when the Germans launched their attack. Withdrawing from Maleme, Baker led a mixed force of men including infantry from 20th Battalion in an attack to recapture a bridge held by the Germans, but was repulsed. He was later appointed commander of A Company, and was wounded in defending a German counterattack. He led a party of walking wounded to an embarkation point from where they were evacuated to Egypt on 31 May.

Egypt
After recuperating from his wounds, Baker was appointed to command of a company in 25th Battalion, then engaged in the North African Campaign along with the rest of the 2nd New Zealand Division. However, in May 1942, he rejoined the 28th Battalion as its second in command, having been promoted to major. The following month, the battalion was engaged in fighting with the Afrika Corps as it attacked into Egypt. The battalion's commanding officer was killed during an artillery barrage on 12 July, elevating Baker to command.

Promoted to temporary lieutenant colonel, Baker withdrew the battalion behind the lines for a brief period of recuperation. Returning to the front lines on 18 July, the battalion manned defensive positions in anticipation of a German attack. In August, it was tasked with carrying out a raid for prisoners and Baker took personal responsibility for reconnoitering the route and objective for the raid, which proved to be a success. It was the first offensive operation conducted by a unit of the Eighth Army since the then Lieutenant General Bernard Montgomery assumed command, and he sent a message of congratulations on the successful execution of the raid.

An attack on the Munassib Depression followed in late August. While the attack was successfully carried out and the objective seized, some elements of the battalion carried on the attack deeper into enemy lines. At one stage, it was feared that these elements would be cut off but Baker was able to withdraw his men to their proper positions. Once again, at the conclusion of the operation, the exploits of Baker's command were recognised.

The battalion then fought in the Second Battle of El Alamein. Initially used to mop up behind the two brigades bearing the brunt of the New Zealand attack, it was decided that the battalion would be used for Operation Supercharge. This attack, to be launched on 2 November, was designed to breach the German lines and establish a corridor through which British armour could break out from Alamein. His battalion subordinate to the British 151 Infantry Brigade for the operation, Baker was unhappy with the lack of detail in the planning of the operation. On arriving at the starting line for his unit, he found Australian units in the wrong positions and convinced their commanding brigadier to move them. Within minutes of the commencement of the attack, he was wounded in the face. His wounds, to his mouth and tongue, were serious and he was repatriated to New Zealand where he would spend nearly a year in extensive rehabilitation. His exploits as commander of the 28th Battalion were recognised with an award of the Distinguished Service Order, which was gazetted in 1944.

Later life
In November 1943, after recovering from his war wounds, Baker was appointed head of the newly formed Rehabilitation Department. The department was charged with establishing ex-servicemen and women into civilian life by providing them with finance, training and housing. Māori soldiers returning to New Zealand after service in the First World War had found rehabilitation policies at the time discriminated against them. Baker advocated and worked for equal treatment for Pākehā (people of European descent) and Māori soldiers returning from the Second World War, setting up a dedicated committee for Māori. Despite the department being amalgamated into the Department of Internal Affairs in 1954, he continued in his rehabilitation role. He was also a Public Services Commissioner from September 1954 until his death in 1958 from a heart attack. He is buried in the servicemen's section of Wellington's Karori Cemetery.

title: Fred Baker (soldier)


text:
Talk:Geonim

I believe we need to address the following question: to what extent where the rulings of the Geonim followed by most communities of the time? Put in another way - to what extent where the Geonim marginal? If there was such a situation, what caused it to change? What were the effects of the spread of Islam on the eventual hegemony of Rabbinic Judaism, such as we know it?

Hasdrubal 08:12, 16 Dec 2004 (UTC)

Plagiarism?
The second paragraph is word-for-word from the Jewish Encyclopedia of 1906.

There's a link to the JE at the bottom of this page. But doesn't this still count as plagiarism without an explicit cite?

Lawrence King 06:41, 21 Apr 2005 (UTC)
 * The Jewish Encyclopedia is public domain. Jayjg (talk) 16:59, 21 Apr 2005 (UTC)

Conflicting dates
Paragraph One says the Geonim were active from 650 to 1250 CE.

Paragraph Two gives two start dates (589 and 609) which seem to conflict, and then two ending dates for different dynasties, both in the 1030's.

Some of these dates are errors. Or perhaps they refer to different "dynasties" of Geonim? Can anyone clarify this?

Lawrence King 06:54, 21 Apr 2005 (UTC)
 * Encyclopedia Brittanica says c. 640-1038. I've put a message on the Talk: page of the author of that section asking him for clarification. Jayjg (talk)  17:13, 21 Apr 2005 (UTC)

JewishEncyclopedia.com says: "the period of the Geonim may be said to begin with the year 589, when Mar Rab Ḥanan of Isḳiya became gaon of Pumbedita. The first gaon of Sura, according to Sherira, was Mar Rab Mar, who assumed office in 609. The last gaon of Sura was Samuel b. Ḥofni, who died in 1034; the last gaon of Pumbedita was Hai, who died in 1038; hence the activity of the Geonim covers a period of nearly 450 years."

We should thus write 589 to 1038 or loosely c. 600 to 1038...

Fintor 13:09, 31 May 2005 (UTC)

I just noticed this too...the 1st paragraph stills says 650–1250 which seems way off (1038 with death of Hai is generally considered the end - start date is more flexible - say c. 600? As a newbie, I am reluctant to jump in and change - is there a general standard/protocol for fixing small (and apparently indisputed) errors like this? YKahn 17:34, 15 Jun 2005 (UTC)

 * YKahn: Be bold and fix those errors. If someone disagrees, he/she will probably tell you. Don't be too careful; exceptions to this rule are intensely contested topics such as The Holocaust and Yasser Arafat. JFW | T@lk  18:24, 15 Jun 2005 (UTC)

 * The 1250 date is probably correct in that it refers to how long the schools stood. The 1038 date refers to the death of Rav Hai Gaon, and the end of centricity to Halakha in Babylon. Perhaps there "era" and the "school" should be delineated better. Chacham 16:51, 22 Sep 2005 (UTC)

The term Gaon
"(Singular: Gaon [גאון] meaning "Genius" in Hebrew)". Gaon does not mean genius in Hebrew. The word [גאון] is used in Leviticus 26:19 and is translated by nearly every translation as "pride". (The "New Living Translation" used "arrogant spirit"). It is used colloquially as "genius" as in call someone a gaon is to call them your pride.

I do not have the source for this next statement, so perhaps it can be researched by someone who knows how to. The reason they were called "Geonim" was that they were the heads of the school called "Geon Ya'akov" (Pride of Jacob). Only the heads of the schools got this name, and this became the name of the era in Judaism. Once the era got the name, anybody who was a commentary in the era was called a "geon". Incorrect in origin, but correct in the final use. -- Chacham 16:51, 22 Sep 2005 (UTC)

 * The common translation is "genius", although I agree that the shoresh is related to that of gaavah. I was unaware of the existence of Ge'on Yaakov. I'm not sure if changes need to be made. JFW | T@lk  16:39, 27 September 2005 (UTC)

 * I do not think it is the common translation. Perhaps the opposite is true though, that when wanted to say genius people commonly use gaon. The word gaon is more common as a sage from the geonic period. If someone says "tell me something a geon says", it would be a joke to say a remark a "genius" made.

 * And even so, even if it was common today, it would have to be proven that this was true 1500 years ago when the term was in use, which it quite doubtful.

 * As for the school, i do not know the source (i heard it at a lecture). But if it is true, that would be the origin of the term, and not that they were called "geniuses". -- Chacham 20:18, 27 Sep 2005 (UTC)

I don't know what the *definitive* source for the original title of "rosh yeshivah, ge'on ya'akov" would be, but Salo Baron discusses it in Vol. V of his 'Social and Religious History of the Jews'. I would assume the origin of the title is known from early letters. The term Gaon did NOT originally mean "genius" and it's probable that it didn't come to mean that until after the Geonic period entirely.

islamic lands?
The article says that the Exilarch held sway in "islamic lands". Wasn't Babalonia islamic at the time? I don't understand the point of contrasting Geonim to Exilarch. 71.240.95.179 12:55, 17 February 2007 (UTC)

The Exilarch and the two Geonim functioned as a trio, each receiving income from a different part of Jewish-owned lands in Babylonia. So far as there was a difference, the Exilarch acted as a temporal sovereign (on a small scale) while the Geonim were the religious authorities and gave legal rulings: it was a kind of Pope and Emperor relationship. Geographically, the Exilarch only had authority within the Islamic Caliphate. The rulings of the Geonim were primarily applicable within the Caliphate; but they were also respected (though not necessarily regarded as binding) in other countries. The article is therefore correct: it is not saying that the Exilarch had authority only within Islamic lands and the Geonim only outside them. --Sir Myles na Gopaleen (the da) 10:00, 15 November 2007 (UTC)

reason for decline of academies
Ha'Aretz had an article reviewing a new book by Prof. Ronnie Ellenblum: "The Collapse of the Eastern Mediterranean: Climate Change and the Decline of the East, 950-1072" (Cambridge University Press, 2012) in which he apparently claims that a series of severe winters was responsible for the collapse:

"According to Ellenblum, this explains why the academies of Sura and Pumbedita − which operated in Baghdad at the time and were the most important centers for Jewish study in the east − ceased to exist in the late 1030s, and their closure brought an end to the period of the Geonim (heads of the academies). “Some have claimed that the academies in Baghdad lost their eminence gradually,” he says, “but not too many years earlier, the head of the Jerusalem academy sent his son to study at the academy of Baghdad.” In other words, the Babylonian academy was still in its prime a few years before it closed down."

(Article in Ha'Aretz online, 6 Oct 2012, Asaf Shtull-Trauring, "The Hunger Claims", http://www.haaretz.com/jewish-world/jewish-holidays/sukkot/the-hunger-claims.premium-1.468500)

I haven't seen the book yet so am only quoting from the Ha'Aretz article, and not sure where to fit this in in the Wiki page (and I'd be reluctant to do so without reading the book first, rather than a review), but thought I'd bring it up on this Talk page.

BristolChris (talk) 19:35, 18 October 2012 (UTC)

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San Jose City College

San José City College (SJCC) is a public community college in San Jose, California. It was founded in 1921, and is one of the oldest colleges in the California Community College System.

History
The college was founded in 1921, opening its doors as San Jose Junior College to students in September of that year.

In 1953, San José Unified School District took over the college's operation from San José State University. The college moved to its present location in the Fruitdale neighborhood of West San Jose in the same year. The college's name changed to "San José City College" in 1958.

In 1999, 2004 and 2010, voters within the San José-Evergreen Community College District passed bond measures to re-build the campus and provide modern technology and facilities for the students, which resulted in the construction of buildings like César E. Chávez Library, the Science Complex, Carmen Castellano Fine Arts Center, and the SJCC Student Center.

History
The college was founded in 1921, opening its doors as San Jose Junior College to students in September of that year.

In 1953, San José Unified School District took over the college's operation from San José State University. The college moved to its present location in the Fruitdale neighborhood of West San Jose in the same year. The college's name changed to "San José City College" in 1958.

In 1999, 2004 and 2010, voters within the San José-Evergreen Community College District passed bond measures to re-build the campus and provide modern technology and facilities for the students, which resulted in the construction of buildings like César E. Chávez Library, the Science Complex, Carmen Castellano Fine Arts Center, and the SJCC Student Center.

Campus
SJCC's campus is located in West San Jose, in the neighborhood of Fruitdale. It is bound by Bascom Ave to the west, Leigh Ave to the east, and Moorpark Ave to the north.

Notable buildings on campus include César E. Chávez Library, the Science Complex, the Student Center, Carmen Castellano Fine Arts Center, and the Technology Center, among others.

César E. Chávez Library
The new library opened in June 2003. It was named after Californian civil rights activist César E. Chávez. The library is state-of-the-art with wireless Internet access and data ports throughout the building.

It also has an electronic research laboratory consisting of 30 personal computers, an electronic whiteboard and a variety of learning software.

Carmen Castellano Fine Arts Center
The Carmen Castellano Fine Arts Center was opened in 2012. It is named after longtime local arts booster and community organizer Carmen Castellano. The center includes a fine arts gallery and a theatre/performance space, alongside classrooms for relevant departments.

KJCC
KJCC 104.1 FM is an online and very low power FM radio station run by San Jose City College students. KJCC began in 1978, then in fall 1994, radio classes were cancelled due to budget cuts, and has since been operated by campus clubs.

Athletics
San Jose City College is home to Jagsports. A $1.7 million capital improvements plan includes a new weight and fitness training complex which is open now to all students, and contains weight and cardiovascular equipment.

During the 1970s, SJCC was a major training hub for Olympic track and field athletes. Under the supervision of coach Bert Bonanno, Caitlyn Jenner (known as Bruce Jenner prior to her transition) trained eight hours per day at the track before he won the 1976 Olympic decathlon. Alumni Millard Hampton and Andre Phillips both won Olympic gold medals, with coaching assistance from Bobby Poynter who was a part of San Jose State University's "Speed City" track team, and was also their coach and teacher at Silver Creek High School (California). The throwing facilities, in particular, were home to gold medalist Mac Wilkins, Al Feuerbach and John Powell. All three became world record holders, Wilkins and Feuerbach setting their records at San Jose City College. Following Jenner's victory in Montreal, Bonanno created the Bruce Jenner Invitational, one of the top domestic meets for top-level athletes. It was an annual televised stop, equivalent with today's Prefontaine Classic. He also used Hampton and Phillips' names to create a local high school invitational.

In 1984 and 1987, the San Jose City College track was host to the USA Outdoor Track and Field Championships.

In February 2018, men's basketball head coach Percy Carr became the all-time winningest black head coach in college basketball history.

Alumni

 * Amy Tan, National Book Award-winning author of The Joy Luck Club
 * Ato Boldon, Olympics gold-medalist
 * Bob Mead, member of the New Hampshire House of Representatives
 * Bob Toledo, head coach for the UCLA Bruins football
 * Chris Cain, Blues Music Award-winning musician
 * Dave Laut, two time NCAA-champion athlete
 * Dave Righetti, All-Star player for the New York Yankees
 * Dave Stieb All-Star player for the Toronto Blue Jays
 * Diamara Planell, Olympic athlete
 * Erik Bakich, coach of the Michigan Wolverines
 * Johnpaul Jones, award-winning architect of the National Museum of the American Indian
 * Scott Erickson, 1991 World Series-champion baseball player
 * Sonia Sheridan, founder of Generative Systems
 * Marcos Pinedo, notable art dealer and collector
 * Millard Hampton, Olympic silver-medalist

Faculty

 * Marie E. Johnson-Calloway, mixed-media artist
 * John Shrader, Professor of Journalism, has an extensive background in television and radio sports anchoring and sports reporting. For more than 15 years, John was a sports anchor/sports reporter/talk show host for KNBR Radio in San Francisco. He was a television sports anchor in San Jose for ten years, first at KNTV-TV and then KICU-TV. He also was the San Jose Sharks intermission host and rink-side reporter for the 2006-07 season on FSN Bay Area.

title: San Jose City College


text:
You Were Here

You Were Here is an album by Canadian singer-songwriter Sarah Harmer, released in 2000.

Background
You Were Here was Harmer's commercial breakthrough in Canada after years of almost reaching the pop charts with Weeping Tile. The album's lead single, "Basement Apt.", had previously been a Weeping Tile song, appearing on that band's 1995 release eepee. The album's second single, "Don't Get Your Back Up", had previously been recorded by Harmer with The Saddletramps. Three other songs, "Weakened State", "Lodestar" and "Coffee Stain", had also been previously recorded by Weeping Tile, on 1998's This Great Black Night.

Harmer stated "I always had kind of high expectations for You Were Here, but I was holding onto it for as long as I could, to find a proper, appropriate home." She self-financed and self-released the album on her own Cold Snap Records label before it was licensed by Zoë Records and Universal Music Canada.

Harmer appeared in support of the album on the Late Show with David Letterman on October 2, 2001, in an appearance in which stage manager Biff Henderson jumped in to sing impromptu backing vocals. She had originally been scheduled to appear the previous week, but was bumped when Rudy Giuliani's first post-9/11 appearance ran overtime.

The album's title track is a tribute to her former Weeping Tile bandmate Joe Chithalen, who died in 1999.

The Art Of Time Ensemble featuring Sarah Slean recorded a Roberto Occhipinti arrangement of "Lodestar" on their 2009 album Black Flowers.

Reception
The album was warmly received. TIME ranked You Were Here in its year-end Top Ten list, calling it the year's best debut album.

You Were Here was named the 24th greatest Canadian album of all time in Bob Mersereau's 2007 book The Top 100 Canadian Albums.

Music critic Lisa M. Smith, writing for Allmusic, praised the album, and wrote of Harmer that "it is certain that she is an artist choosing wisely from a great scope of colors. With a pleasing and misleading start, the rollicking opening track asserts its individuality with a Vaudevillian clarinet, keeping one foot in Kinks pop and one in some elusive species of country rock." She describes the album as one of a pleasing ebb and flow. "Songs may begin with a soft acoustic, then unfold assuredly toward their climax. Various instruments add character now and then, such as a muted trumpet or a harmonica, and the energy level can sway between a lullaby and full pop treatment with a definite destination… the album as a whole feels sincere, answering to a variety of moods and whims. It is a work of quality, from the songwriting clear to the production." Rolling Stone gave the album 3.5 of 5 stars, stating it contained "Plainly hooky, tender-but-tough songs...Harmer lovingly chronicles the rough-and-tumble of real-life romance....a marvelously compelling meditation"

Q gave You Were Here 3 of 5 stars and called it "Lounge jazz, drum loops and lead guitar chops support a vocalist whose lyrical panache...marks her out from the crowd."

In an interview with No Depression, Paul Cantin called it "a welcome break from the Lilith school of flinchy girl singers. Her music is at once heartfelt and hardy, sensitive and sanguine."

Track listing
All songs written by Sarah Harmer, except where noted.
 * 1) "Around This Corner" – 3:15
 * 2) "Basement Apt." – 4:08
 * 3) "The Hideout" – 4:01
 * 4) "Capsized" – 3:57
 * 5) "Lodestar" – 5:28
 * 6) "Weakened State" – 2:53
 * 7) "Don't Get Your Back Up" – 3:54
 * 8) "Open Window (The Wedding Song)" – 4:09
 * 9) "Uniform Grey" – 3:43
 * 10) "Coffee Stain" – 2:56
 * 11) "You Were Here" – 4:53
 * 12) "Everytime" (Dave Hodge) – 3:12

Personnel

 * Sarah Harmer – vocals, guitar, organ, harmonica, tambourine, Wurlitzer
 * Gord Tough – guitar
 * Benji Perosin – trumpet
 * Gavin Brown – drums
 * Peter Prilesnik – bass, beats, electric guitar, dobro, guitar
 * Cam Giroux – drums
 * Al Cross – drums
 * Jason Euringer – background vocals
 * Spencer Evans – clarinet
 * Maury LaFoy – bass, upright bass
 * Kevin Fox – cello
 * Damon Richardson – drums
 * Jenny Whiteley – background vocals
 * Luther Wright – guitar

Production

 * Produced by Peter Prilesnik and Sarah Harmer
 * Mixed by Eric Ratz
 * Engineered by Pete Prilesnik
 * Mastered by Brett Zilahi
 * Editing by Blair Robb, Steve Webster and Brett Zilahi
 * Cover photo by Yael Staav
 * Photography by Luther Wright
 * Design by Greg Hall

title: You Were Here


text:
Hemagglutination assay

The hemagglutination assay or haemagglutination assay (HA) and the hemagglutination inhibition assay (HI or HAI) were developed in 1941–42 by American virologist George Hirst as methods for quantifying the relative concentration of viruses, bacteria, or antibodies.

HA and HAI apply the process of hemagglutination, in which sialic acid receptors on the surface of red blood cells (RBCs) bind to the hemagglutinin glycoprotein found on the surface of influenza virus (and several other viruses) and create a network, or lattice structure, of interconnected RBCs and virus particles. The agglutinated lattice maintains the RBCs in a suspended distribution, typically viewed as a diffuse reddish solution. The formation of the lattice depends on the concentrations of the virus and RBCs, and when the relative virus concentration is too low, the RBCs are not constrained by the lattice and settle to the bottom of the well. Hemagglutination is observed in the presence of staphylococci, vibrios, and other bacterial species, similar to the mechanism viruses use to cause agglutination of erythrocytes. The RBCs used in HA and HI assays are typically from chickens, turkeys, horses, guinea pigs, or humans depending on the selectivity of the targeted virus or bacterium and the associated surface receptors on the RBC.

Procedure
A general procedure for HA is as follows, a serial dilution of virus is prepared across the rows in a U or V- bottom shaped 96-well microtiter plate. The most concentrated sample in the first well is often diluted to be 1/5x of the stock, and subsequent wells are typically two-fold dilutions (1/10, 1/20, 1/40, etc.).The final well serves as a negative control with no virus. Each row of the plate typically has a different virus and the same pattern of dilutions. After serial dilutions, a standardized concentration of RBCs is added to each well and mixed gently. The plate is incubated for 30 minutes at room temperature. Following the incubation period, the assay can be analyzed to distinguish between agglutinated and non-agglutinated wells. The images across a row will typically progress from agglutinated wells with high virus concentration and a diffuse reddish appearance to a series of wells with low virus concentrations containing a dark red pellet, or button, in the center of the well. The low concentration wells appear nearly identical to the no-virus negative control well. The button appearance occurs because the RBCs are not held in the agglutinated lattice structure and settle into the low point of the U or V-bottom well. The transition from agglutinated to non-agglutinated wells occurs distinctively, within 1 to 2 wells.

The relative concentration, or titer, of the virus sample is based on the well with the last agglutinated appearance, immediately before a pellet is observed. Relative to the initial viral stock concentration, the virus concentration in this well will be some dilution of the stock, for example, 1/40-fold. The titer value of that sample is the inverse of the dilution, i.e., 40. In some cases, the virus is initially so dilute that agglutinated wells are never observed. In that case, the titer of these samples is commonly assigned as 5, indicating the highest possible concentration, but the accuracy of that value is clearly low. Alternatively, if the relative concentration of the virus is extremely high and the wells never transition to a button appearance. The titer value is then commonly assigned to be the highest dilution, such as 5120.

HI is closely related to the HA assay, but includes anti-viral antibodies as “inhibitors” to interfere with the virus-RBC interaction. The goal is to characterize the concentration of antibodies in the antiserum or other samples containing antibodies. The HI assay is generally performed by creating a dilution series of antiserum across the rows of a 96-well microtiter plate. Each row would usually be a different sample. A standardized amount of virus or bacteria is added to each well, and the mixture is allowed to incubate at room temperature for 30 minutes. The last well in each row would be a negative control with no virus added. During the incubation, antibodies bind to the viral particles, and if the concentration and binding affinity of the antibodies are high enough, the viral particles are effectively blocked from causing hemagglutination. Next, a standardized amount of RBCs is added to each well and allowed to incubate at room temperature for an additional 30 minutes. The resulting HI plate images usually progress from non-agglutinated, “button” wells with high antibody concentration to agglutinated, red diffuse wells with low antibody concentration. The HI titer value is the inverse of the last dilution of serum that completely inhibited hemagglutination.

The preceding descriptions of the HA and HI processes are generalized, and specific details can vary depending on the operator and laboratory. For example, serial dilutions across the rows is described, but some laboratories use an alternate orientation and perform dilutions down the columns instead. Similarly, the starting dilution, serial dilution factor, incubation times, and choice of U or V-bottom plate can depend on the specific laboratory.

Advantages
HA and HI have the advantages that the assays are simple, use relatively inexpensive and available instruments and supplies, and provide results within a few hours. The assays are also well established in many laboratories around the world, allowing some measure of credibility, comparison, and standardization.

Limitations
Optimal and reliable results require controlling several variables, such as incubation times, red blood cell concentration, and type of red blood cell. Non-specific factors in the sample can lead to interference and incorrect titer values. For example, molecules in the sample other than virus-specific antibodies can inhibit agglutination between virus and RBCs, as well as potentially blocking antibody from binding to virus. Receptor-destroying enzymes (RDE) are commonly used to treat samples prior to analysis to prevent non-specific inhibition. Analysis of the HA or HI results relies on a qualified individual to read the plate and determine the titer values. The manual interpretation method introduces more opportunities for discrepancies in the assay because results can be subjective and the agreement between human readers is inconsistent. Also, there is no digital record of the plate or titer determinations so the initial interpretation is tedious and commonly done in replicates. The range of potential variables and differences between expert readers can make comparing inter-laboratory results difficult.

title: Hemagglutination assay


title: User:Hemanshu/sandbox25


text:
User:Davidwhunt

I'll add what I can add...

Pages I've started:

2007 Seattle Seahawks season

Pages I frequent:

Portland Trail Blazers

Seattle Seahawks

davidwhunt.us

title: User:Davidwhunt