Answer the question at the end by quoting:

Abbey Road is the eleventh album by English rock band the Beatles, released on 26 September 1969 by Apple Records. The recording sessions for the album were the last in which all four Beatles participated. Although Let It Be was the final album that the Beatles completed before the band's dissolution in April 1970, most of the album had been recorded before the Abbey Road sessions began. A double A-side single from the album, "Something"/"Come
Side two contains a 16-minute medley of eight short songs, recorded over July and August and blended into a suite by McCartney and Martin. Some songs were written (and originally recorded in demo form) during sessions for the White Album and Get Back / Let It Be, which later appeared on Anthology 3. While the idea for the medley was McCartney's, Martin claims credit for some structure, adding he "wanted to get John and Paul to think more seriously about their music".  The first track recorded for the medley was the opening number, "You Never Give Me Your Money". McCartney has claimed that the band's dispute over Allen Klein and what McCartney viewed as Klein's empty promises were the inspiration for the song's lyrics. However, MacDonald doubts this given that the backing track, recorded on 6 May at Olympic Studios, predated the worst altercations between Klein and McCartney. The track is a suite of varying styles, ranging from a piano-led ballad at the start to arpeggiated guitars at the end. Both Harrison and Lennon provided guitar solos with Lennon playing the solos at the end of the track, which Beatles author Walter Everett considers his favourite Lennon guitar contribution.  This song transitions into Lennon's "Sun King" which, like "Because", showcases Lennon, McCartney and Harrison's triple-tracked harmonies. Following it are Lennon's "Mean Mr. Mustard" (written during the Beatles' 1968 trip to India) and "Polythene Pam". These in turn are followed by four McCartney songs, "She Came in Through the Bathroom Window" (written after a fan entered McCartney's residence via his bathroom window), "Golden Slumbers" (based on Thomas Dekker's 17th-century poem set to new music), "Carry That Weight" (reprising elements from "You Never Give Me Your Money", and featuring chorus vocals from all four Beatles), and closing with "The End".  "The End" features Starr's only drum solo in the Beatles' catalogue (the drums are mixed across two tracks in "true stereo", unlike most releases at that time where they were hard panned left or right). Fifty-four seconds into the song are 18 bars of lead guitar: the first two bars are played by McCartney, the second two by Harrison, and the third two by Lennon, with the sequence repeating. Harrison suggested the idea of a guitar solo in the track, Lennon decided they should trade solos and McCartney elected to go first. The solos were cut live against the existing backing track in one take. Immediately after Lennon's third and final solo, the piano chords of the final part of the song begin. The song ends with the memorable final line, "And in the end, the love you take is equal to the love you make". This section was taped separately to the first, and required the piano to be re-recorded by McCartney, which was done on 18 August. An alternative version of the song, with Harrison's lead guitar solo played against McCartney's (with Starr's drum solo heard in the background), appears on the Anthology 3 album and the 2012 digital-only compilation album Tomorrow Never Knows.

Who is Allen Klein?



IN: Carl Franklin was raised outside of San Francisco, in Richmond, California. He never had the opportunity to know his biological father, who had died before Carl was born. Franklin was raised by his mother and stepfather. While Franklin speaks highly of his stepfather and has called him "very loving," he has spoken out about his stepfather's abusive tendencies, linking his outbursts to alcohol use.

Franklin supports the portrayal of African-American history in films, and has been quoted as saying "I am interested in the universal values of the black experience." However, just because Franklin is a filmmaker who is African American does not mean that all of his films are racially motivated. Not all of his films revolve around a central theme of culture: some of his films cover racial issues, while others do not. Franklin maintains a wide subject range in his films, choosing not to focus solely on his heritage.  As a prominent African-American filmmaker, Franklin stands apart from the rest in his careful selection of projects. While many of his most notable films touch on the subject of racial climates and the struggles that ensue, Franklin does not hide behind his race. Explaining to The L.A Times, "My ethnicity is a plus, a tool. It gives me ammunition in terms of the way I view the world. There are certain stories in the black community that inform us all." Combining his humanitarian instincts and personal experiences, Franklin stands out as a visionary for community improvement through his films. However, a large part of Franklin's remarkable journey revolves around the fact that he is black. Discussing the realities for African Americans in the television and film industry, Franklin said: "When I came up, the only legitimate dramatic actor was Sidney Poitier, the bankable star was Richard Pryor and the other choice roles were action parts that went to Jim Brown. Even someone as good as Billy Dee Williams had a couple of great moments and then couldn't get a decent part." With a very small window of opportunity for African Americans at the time that Franklin was getting his start, his skills and educational background contributed to his success.  Franklin is a standout filmmaker regardless of his race, yet he is often praised for his ability to overcome adversity, and is recognized for his highly regarded opinion as well as his relevant contributions. In February 2000, Franklin was featured as a Black History Month guest speaker at Indiana University's ''Black Film Center/Archive''. The group hosted an event called A Night with Filmmaker Carl Franklin, which gave Franklin the opportunity to talk about his experience in the movie industry as well as show a preview of his film Devil in a Blue Dress. Franklin's appearance was highly regarded by many students who were honored to meet him in person.

Did he do anything with any black charities?

OUT: