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'''s 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