diff options
Diffstat (limited to '2589.txt')
| -rw-r--r-- | 2589.txt | 681 |
1 files changed, 681 insertions, 0 deletions
diff --git a/2589.txt b/2589.txt new file mode 100644 index 0000000..21145bb --- /dev/null +++ b/2589.txt @@ -0,0 +1,681 @@ +Project Gutenberg's The Experiences of a Bandmaster, by John Philip Sousa + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Experiences of a Bandmaster + +Author: John Philip Sousa + +Posting Date: January 2, 2009 [EBook #2589] +Release Date: April, 2001 + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK THE EXPERIENCES OF A BANDMASTER *** + + + + +Produced by Faith Matievich + + + + + +THE EXPERIENCES OF A BANDMASTER + +By John Philip Sousa + + +During eighteen years spent in playing music for the masses, twelve +years in the service of the United States and six in that of the general +public, many curious and interesting incidents have come under my +observation. + +While conductor of the Marine Band, which plays at all the state +functions given by the President at the Executive Mansion, I saw much +of the social life of the White House and was brought into more or less +direct contact with all the executives under whom I had the honor of +successively serving--Presidents Hayes, Garfield, Arthur, Cleveland and +Harrison. + +They were all very appreciative of music, and in this respect were quite +unlike General Grant, of whom it is said that he knew only two tunes, +one of which was "Yankee Doodle" and the other wasn't! + + + + +The President's Embarrassing Demand. + +I think I may say that more than one President, relieved from the +onerous duties of a great reception, has found rest by sitting quietly +in the corner of a convenient room and listening to the music. + +Once, on the occasion of a state dinner, President Arthur came to the +door of the main lobby of the White House, where the Marine Band was +always stationed, and beckoning me to his side asked me to play the +"Cachuca." When I explained that we did not have the music with us but +would be glad to include it in the next programme, the President looked +surprised and remarked: + +"Why, Sousa, I thought you could play anything. I'm sure you can; now +give us the 'Cachuca.'" + +This placed me in a predicament, as I did not wish the President to +believe that the band was not at all times able to respond to his +wishes. Fortunately, one of the bandmen remembered the melody and played +it over softly to me on his cornet in a corner. I hastily wrote out +several parts for the leading instruments, and told the rest of the band +to vamp in the key of E flat. Then we played the "Cachuca" to the entire +satisfaction of Mr. Arthur, who came again to the door and said: "There, +I knew you could play it." + +The ladies of the White House were always interested in the music, and +frequently suggested selections for the programmes, Mrs. Hayes being +particularly fond of American ballads. During the brief Garfield +administration there were no state receptions or dinners given by the +President, and the band did not play at the White House, except for a +few of Mrs. Garfield's receptions immediately after the inauguration. +While Mrs. McElroy was mistress of the Executive Mansion for her +brother, President Arthur, the lighter music was much in favor, as there +were always many young people at the Mansion. + +Miss Rose Elizabeth Cleveland was much interested in music, and evinced +a partiality for Arthur Sullivan's melodies. Mrs. Harrison's favorite +music was Nevin's "Good Night, Beloved" and the Sousa marches. The +soundness of Mrs. Cleveland's musical taste was shown by her liking for +the "Tannhauser" overture and other music of that character. + +The Marine Band played all the music for President Cleveland's wedding, +which took place in the Blue Room of the White House. The distance from +the room up-stairs to the exact spot where the ceremony was to take +place was carefully measured by Colonel Lamont and myself, in order +that the music might be timed to the precise number of steps the wedding +party would have to take; and the climax of the Mendelssohn "Wedding +March" was played by the band just as the bride and groom reached the +clergyman. + + + + +President Cleveland's Veto. + +A few days before the ceremony I submitted my musical programme to +Colonel Lamont for the President's approval, and among the numbers was a +quartet called "The Student of Love," from one of my operas. Even in +the anticipation of his happiness Mr. Cleveland was keenly alive to +the opportunities for humorous remarks which this title might afford to +irreverent newspaper men; and he said to his secretary: "Tell Sousa +he can play that quartet, but he had better omit the name of it." +Accordingly, "The Student of Love" was conspicuous by its absence. + +When North Carolina celebrated its centenary, the Marine Band was +ordered to Fayetteville to participate in the ceremonies. The little +Southern town was much interested in the advent of the "President's +Band," and the prevailing opinion was that "Dixie" would be tabooed +music with us. Before the exercises a local committee waited upon me and +intimated that "Dixie" was a popular melody in that vicinity. + +"Of course," said the spokesman, "we don't want you to play anything +you don't want to, but please remember, sir, that we are very fond of +'Dixie' here." + +Bowing gravely, I thanked the committee for their interest in my +programme, but left them completely in the dark as to whether I intended +to play the loved song of the South or not. + +"Dixie," by the President's Band. + +The ceremonies opened with a patriotic address by Governor Fowle, +lauding the glories of the American flag and naturally the only +appropriate music to such a sentiment was "The Star-Spangled Banner," +which the crowd patriotically cheered. + +The tone of the succeeding oration was equally fervid, but the speaker +enlarged upon the glories of the Commonwealth whose one hundredth +anniversary was being celebrated. The orator sat down, there was a +momentary pause, and then as I raised my baton the strains of "Dixie" +fell upon the delighted ears of the thousands round the platform. + +The unexpected had happened, and such a shout as went up from that +throng I have never heard equaled. Hats were tossed in the air, +gray-bearded men embraced, and for a few minutes a jubilant pandemonium +reigned supreme. During the rest of our stay in Fayetteville +the repertoire of the Marine Band was on this order: "Yankee +Doodle,"--"Dixie;" "Star-Spangled Banner,"--"Dixie;" "Red, White and +Blue,"--"Dixie." + +In all my experience the acme of patriotic fervor was reached during +a reunion of the Loyal Legion at Philadelphia some years ago. The +exercises were held in the Academy of Music, and the band occupied +the orchestra pit in front of the stage, which was crowded with +distinguished veterans. + +I had strung together for the occasion a number of war-songs, +bugle-calls and patriotic airs, and when the band played them the +martial spirit began to stir the people. As we broke into "Marching +Through Georgia," a distinguished-looking old soldier stepped to the +foot-lights and began to sing the familiar words of the famous song in +a loud, clear voice. The entire audience joined in, and as the swelling +volume of melody rolled through the house, the enthusiasm waxed more +intense. + +Verse after verse was sung, interrupted with frantic cheers, until it +seemed that the very ecstasy of enthusiasm had been reached. It was +only when physically exhausted that the audience calmed down and the +exercises proceeded. + + + + +A Chorus of Ten Thousand. + +During the World's Fair at Chicago my present band was giving nightly +concerts in the Court of Honor surrounding the lagoon. On one beautiful +night in June fully ten thousand people were gathered round the +bandstand while we were playing a medley of popular songs. + +Director Tomlins, of the World's Fair Choral Associations, was on the +stand, and exclaiming, "Keep that up, Sousa!" he turned to the crowd and +motioned the people to join him in singing. With the background of the +stately buildings of the White City, this mighty chorus, led by the +band, sang the songs of the people-"Home, Sweet Home," "Suwanee River," +"Annie Laurie," "My Old Kentucky Home," etc., and never did the familiar +melodies sound so grandly beautiful. + +The influence of music to quiet disorder and to allay fear is quite as +potent as its power to excite and to stir enthusiasm. A case in point +happened at the St. Louis Exposition, where my band was giving a series +of concerts. There was an enormous audience in the music hall when, in +the middle of the programme, every electric light suddenly went out, +leaving the house in complete darkness. + +A succession of sharp cries from women, the hasty shuffling of feet, and +the nervous tension manifest in every one, gave proof that a panic was +probably imminent. I called softly to the band, "Yankee Doodle!" and the +men quickly responded by playing the good old tune from memory in the +darkness, quickly following it with "Dixie" on my orders. The audience +began to quiet down, and some scattering applause gave assurance that +the excitement was abating. + +"The Star-Spangled Banner" still further restored confidence, and when +we played "Oh Dear, What Can the Matter Be?" and "Wait Till The Clouds +Roll By," every one was laughing and making the best of the gloom. In +a short time the gas was turned on, and the concert proceeded with +adequate lighting. + + +In the desire to do especial honor to a certain foreign representative +during the World's Fair, I had a particular piece of music in which +he was interested arranged for my band, and agreed to play it at a +specified concert. The music was given to a member of the band with +instructions to copy the parts and deliver them at the band-stand. + +The foreign gentleman was present at the concert with a large party of +friends, whom he had invited to hear this particular piece of music. +When the librarian asked the musician for the parts, he could not find +them, and a search high and low for the missing music was without +avail. Much to my chagrin, it was necessary to omit the number and send +explanations and regrets to the dignitary whom it was designed to honor. + +At the end of the concert, when the men were packing to go home, the +player found the missing band parts stuck in the bell of his instrument, +where he had placed them for safe-keeping. + + +In a little Michigan town my band was booked for an afternoon concert, +and on our arrival the local manager assured us that we should have a +good house, although there was no advance sale. He explained this by +saying that the townspeople did not like to buy their tickets until the +last minute. + +The theatre was on the second floor of the town hall, the ground floor +being given over to the fire department, the especial pride of the +community. Twenty minutes before the concert a large crowd had gathered +round the box-office to buy tickets when the fire-alarm sounded, and the +entire population promptly deserted the muse of music and escorted the +engine and hose-cart to the scene of action, leaving the band absolutely +without an audience. + + + + +A Tuneful Locomotive. + +Once when we were playing during warm weather in a theatre situated near +a railroad, the windows were left open for ventilation. The band +was rendering a Wagner selection, and at the climax was playing with +increasing force. The last note to be played was a unison B flat, and +as I gave the sign to the musicians to play as strong as possible the +volume of sound that followed fairly astonished me. I had never heard +fifty men play with such force before and could not account for it, but +the explanation soon became manifest. As the band ceased playing, +the same note continued in the blast of a passing locomotive that had +opportunely chimed in with us in unison. + + +The Marine Band was once doing escort duty on Pennsylvania Avenue in +Washington to a body of citizen soldiery returning from camp. It was +at night and the parade was preceded by a wagon-load of fireworks which +were to be discharged at appropriate intervals along the line of march. + +By some accident or design the entire load of pyrotechnics was +simultaneously ignited, and the street immediately filled with a perfect +fusillade of rockets and Roman candles. + +A stampede followed and the parade faded away. I stood my ground +until my eye-glasses were knocked off, and then I groped my way to the +sidewalk. When the confusion had subsided, all that could be discovered +of my band was the drum-major in front and the bass-drummer in the rear +rank. Their comrades had fled, but these men were good soldiers, and +having received no orders to disperse had stood their ground manfully. + + + + +A Tale of the White House + +One more story of the White House. At the time of the unveiling of the +statue of Admiral Farragut in Washington, it was suddenly proposed +to have a reception at the Executive Mansion in honor of the many +distinguished visitors. The informal invitations were issued while I was +participating in the parade that was part of the ceremonies. + +At seven o-clock in the evening, when I was at home, tired out after +the long march, word came to me to report at the Marine Barracks. I +went there and was ordered to take the band to the White House at eight +o'clock p.m. + +The bandmen did not live in barracks, and it was practically impossible +to get them together at that time of night, as they were scattered all +over the city. + +"Well, those are my instructions and those are your orders," said the +commanding officer. + +So we sent the band-messengers out to the men's lodgings, and they found +just one musician at home, and he was the bass-drummer. + +At eight o'clock, arrayed in all the gorgeousness of my scarlet and gold +uniform, I sat in front of the band platform in the White House lobby, +and the bass-drummer stationed himself back in the semi-obscurity of his +corner. There was a dazzling array of music-stands and empty chairs, but +no musicians! The President evidently saw the humorous side of it, and +when I explained the situation he said it could not be helped. All the +evening we sat there and listened to humorous remarks from the guests. +We had "reported for duty," though, and the drummer and I stayed till +the reception was over. + + + + + +End of the Project Gutenberg EBook of The Experiences of a Bandmaster, by +John Philip Sousa + +*** END OF THIS PROJECT GUTENBERG EBOOK THE EXPERIENCES OF A BANDMASTER *** + +***** This file should be named 2589.txt or 2589.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/2/5/8/2589/ + +Produced by Faith Matievich + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +http://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need, is critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at http://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +http://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at http://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit http://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including checks, online payments and credit card donations. +To donate, please visit: http://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart is the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + http://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. |