Tape Jockey
Date: 2010-05-29T00:00:00+00:00
Keywords: Science fiction; Short stories

The Project Gutenberg eBook of Tape Jockey

This ebook is for the use of anyone anywhere in the United States and most other parts of the world 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. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

Title: Tape Jockey

Author: Tom Leahy

Release date: May 29, 2010 [eBook #32583]

Language: English

Credits: Produced by Greg Weeks, Mary Meehan and the Online
Distributed Proofreading Team at http://www.pgdp.net

*** START OF THE PROJECT GUTENBERG EBOOK TAPE JOCKEY ***

TAPE JOCKEY

By Tom Leahy

[Transcriber Note: This etext was produced from IF Worlds of Science Fiction March 1954. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.]

Pettigill was, you might say, in tune with the world. It wouldn't even have been an exaggeration to say the world was in tune with Pettigill. Then somebody struck a sour note....

The little man said, "Why, Mr. Bartle, come in. This is indeed a pleasure." His pinched face was lighted with an enthusiastic smile.

"You know my name, so I suppose you know the Bulletin sent me for a personality interview," the tall man who stood in the doorway said in a monotone as if it were a statement he had made a thousand times—which he had.

"Oh, certainly, Mr. Bartle. I was informed by Section Secretary Andrews this morning. I must say, I am greatly honored by this visit, too. Oh heavens, here I am letting you stand in the doorway. Excuse my discourtesy, sir—come in, come in," the little man said, and bustled the bored Bartle into a great room.

The walls of the room were lined by gray metal boxes that had spools of reproduction tape mounted on their vertical fronts—tape recorders, hundreds of them.

"I have a rather lonely occupation, Mr. Bartle, and sometimes the common courtesies slip my mind. It is a rather grievous fault and I beg you to overlook it. It would be rather distressing to me if Section Secretary Andrews were to hear of it; he has a rather intolerant attitude toward such faux pas. Do you understand what I mean? Not that I'm dissatisfied with my superior—perish the thought, it's just that—"

"Don't worry, I won't breathe a word," the tall man interrupted without looking at the babbling fellow shuffling along at his side. "Mr. Pettigill, I don't want to keep you from your work for too long, so I'll just get a few notes and make up the bulk of the story back at the paper." Bartle searched the room with his eyes. "Don't you have a chair in this place?"

"Oh, my gracious, yes. There goes that old discourtesy again, eh?" the little man, Pettigill, said with a dry laugh. He scurried about the room like a confused squirrel until he spotted a chair behind his desk. "My chair. My chair for you, Mr. Bartle!" Again the dry laugh.

"Thanks, Mr. Pettigill."

"Arthur. Call me Arthur. Formality really isn't necessary among Mid Echelon, do you think? Section Secretary Andrews has often requested I call him Morton, but I just can't seem to bring myself to such informality. After all, he is Sub-Prime Echelon. It makes one uncomfortable, shall we say, to step out of one's class?" He stopped talking and the corners of his mouth dropped quickly as if he had just been given one minute to live. "You—you are only Mid Echelon, aren't you? I mean, if you are Sub-Prime, I shouldn't be—"

"Relax, Mr. Pettigill—'Arthur'—I am Mid Echelon. And I'm only that because my father was a man of far more industry than I; I inherited my classification."

"So? Well, now. Interesting—very. He must have been a great man, a great man, Mr. Bartle."

"So I am told, Arthur. But let's get on with it," Bartle said, taking some scrap paper and a pencil stub from his tunic pocket. "Now, tell me about yourself and the Melopsych Center."

"Well," the little man began with a sigh and blinked his eyes peculiarly as though he were mentally shuffling events and facts like a deck of cards. "Well, I—my life would be of little interest, but the Center is of the utmost importance. That's it—I am no more than a physical extremity that functions in accord with the vital life that courses through the great physique of the Center! No more—I ask no more than to serve the Center and in turn, my fellow citizens, whether they be Prime, Sub-Prime, Mid, or even Sub-Lower!"

He stopped speaking, affecting a martyr-like pose. Bartle covered a smile with his hand.

"Well, Bartle, as you know, the Center—the Melopsych Center, a thoroughly inadequate name for the installation I might say—is the point of broadcast for these many taped musical selections contrived by Mass Psych as a therapeutic treatment for the various Echelon levels. It is the Great Psychiatrist—the Father Confessor. For where can one bare one's soul, or soothe one's nerves and disposition frayed by a day's endeavor, better than in the tender yet firm embrace of music?"

Bartle was straining to follow the train of thought that was lost in the camouflage of Pettigill's flowery phraseology.

"You see all about you these many recorders, Mr. Bartle?"

Bartle nodded.

"On those machines, sir, are spools of tape. Music tapes, all music. My heavens, every kind: classical music, jazz, western, all kinds of music. Some tapes are no more than a single melodious note, sustained for whatever length of time necessary to relax and please the Echelon level home it is being beamed to. Oh, I tell you, Mr. Bartle, when the last tape has expended itself for the day, as our service code suggests, I leave this great edifice with a feeling of profound pride in the fact that I have so served my fellow man. You share that feeling too, don't you Mr. Bartle?"

Bartle shrugged. Pettigill paused and looked at the watch he carried on a long chain attached to a clasp on his tunic.

"A Benz chronometer, given to me by Section Secretary Andrews on the completion of my twenty-five years of service. It's radio-synchronized with the master timepiece in Greenland. It gives me a feeling of close communion with my superiors, if you understand what I mean."

Bartle did not. He said, "Am I keeping you from your work? If I am, I believe I can fill in on most of this back at the paper; we have files on the Center's operation."

The little man hurriedly put out a hand to restrain Bartle who was easing out of the chair.

"Not yet, Mr. Bartle," he said, suddenly much more sober. Then his incongruous pomposity appeared again. "My gracious, no, you aren't keeping me from my work. I just must start the Mid-Lower Echelon tape. It won't take a moment. Tonight, they receive 'Concerto For Ass's Jawbone.' Sounds rather ridiculous, doesn't it? Be that as it may, there is a certain stimulation in its rhythmic cacophony. Aboriginality—yes, I would say it arouses a primitive exaltation."

He flicked a switch above the recorder, turned a knob, and pressed the starter button on the machine. The tape began winding slowly from one spool to another.

"Is it 'casting'?" Bartle asked. "I don't hear a thing."

Pettigill laughed. "My stars, no; you can't hear it. See—" He pointed at a needle doing a staccato dance on the meter face of the machine. "That tells me everything is operating properly. Mass Psych advises us never to listen to 'casts. The selections were designed by them for specific social and intellectual levels. It could cause us to experience a rather severe emotional disturbance."

A peculiar look came over Bartle's face. "Is there ever a time when all the machines run at once? That is, when every Echelon home is tuned to the melopsych tapecasts?"

Pettigill registered surprise. "Why, certainly, Mr. Bartle. Don't you know Amendment 34206-B specifically states that all Echelon homes must receive music therapy at 2300 hours every night? Of course, different tapes to different homes."

"That's what I mean."

"Haven't you been abiding by the directive, Mr. Bartle?"

"I told you I owed my classification to my father's industry. I am definitely lax in my duties."

Pettigill laughed—almost wickedly, Bartle thought.

"What I'm getting at, is," Bartle continued, "what if the wrong 'casts were channeled into the various homes?"

"I remind you, sir, I am in charge of the Center and have been for thirty years. Not even the slightest mistake of that nature has ever occurred during that time!"

"That, I can believe, Pettigill," Bartle said, his voice edged with sarcasm. "But, hypothetically, if it were to happen, what would the reaction be?"

The little man fidgeted with his watch chain. Then he leaned close to Bartle and said in a barely audible whisper, "This isn't for publication in your article, is it?"

"You don't think the Government would allow that, do you? No, this is to satisfy my own curiosity."

"Well, since we're both Mid Echelon—brothers, so to speak—I suppose we can share a secret. It will be disastrous! I firmly believe it will be disastrous, Mr. Bartle!" He moved closer to the tall man. "I recall a secret administrative directive we received here twenty years ago concerning just that. In essence, it stated that, though music therapy has its great advantages, if the pattern of performance were broken or altered, a definite erratic emotional reaction would develop on the part of the citizens! That was twenty years ago, and I shudder to think what might be the response now; especially if the 'cast were completely foreign to the recipient." He gave a little shudder to emphasize the horror of the occurrence. "It would make psychotics of the entire citizenry! That's what would happen—a nation of psychotics!"

"The fellow who didn't hear the 'miscast' would be top dog, eh, Pettigill? He could call his shots."

Pettigill twirled the watch chain faster between a forefinger and thumb. "No, he'd gain nothing," he said, staring as though hypnotized by the whirling, gold chain. "It would take more than one sane person to control the derelict population. Perhaps—perhaps two," he mumbled. "Yes, I think perhaps two could."

"You and who else, Pettigill?"

Pettigill stepped back and drew himself erect. "What? You actually entertain the idea th—" He laughed dryly. "Oh, you're pulling my leg, eh, Mr. Bartle."

"I suppose I am."

"Well, such a remark gives one a jolt, if you know what I mean. Even though we are speaking of a hypothetical occurrence, we must be cautious about such talk, Mr. Bartle. Although our government is a benevolent organization, it is ill-disposed toward such ideas." He cleared his throat. "Now, is there anything else I can tell you about the Center?"

Bartle arose from the chair, stuffing the scrap paper and unused pencil back in his pocket. "Thanks, no," he said, "I think this'll cover it. Oh yes, the article will appear in this Sunday's edition. Thanks, Pettigill, for giving me your time."

"Oh, I wish to thank you, Mr. Bartle. Being featured in a Bulletin article is the ultimate to a man such as I—a man whose only wishes are to serve his country and his brothers."

"I'm sure you're doing both with great efficiency," Bartle said as he apathetically shook Pettigill's hand and started toward the door.

"A moment, Mr. Bartle—" the little man called.

Bartle stopped and turned.

"I perceive, Mr. Bartle, you are a man of exceptional ability," Pettigill said and cleared his throat. "It seems a shame to waste such talent; it should be directed toward some definite goal. Do you understand what I mean? After all, we're all brothers, you know. It would be for my benefit as well as yours."

"Sure, sure, 'brother'," Bartle snorted and left.

He started for the paper office but decided to let the story go until morning. What the hell, he had a stock format for all such articles. The people were the same: selfless, heroic type, citizens working for the mutual good of all. Only the names were different. And yet, this Pettigill had disturbed him. Perhaps it was something he had said that Bartle could not remember.

He walked into his warm flat and extracted the pre-cooked meal from the electroven. He ate with little relish, abstractly thinking of the foolish little cog in the governmental machine he had talked with that afternoon. Or was Pettigill that foolish little cog? Bartle could not help but feel there was something deep inside him that did not show in that wizened and seemingly open little face. He thought about it the rest of the evening.

He looked at the clock on the night table—2300 hours. "Pettigill's Lullaby Hour," he thought. Bartle chuckled and switched off the bed light. He was asleep before the puffs of air had escaped from under the covers he pulled over himself.

When the phone rang at 0300, Bartle was strangely not surprised, although, consciously, he was expecting no call.

"Hello," he said sleepily.

"Bartle? This is Pettigill." The voice was Pettigill's but the nervous, timid, quality was gone. "I assume you did not hear the 2300 'cast?"

"You assume correctly, Pettigill. What d'you want?"

"Come on over to the Center; we'll split a fifth of former Section Secretary Andrews' Scotch."

"What the hell do you mean?"

"Were you serious about that 'therapy revolution' we were talking about this afternoon?"

"I'm always serious. So what?"

"Excellent, excellent," Pettigill laughed. "I've spent thirty years just waiting for such a man as you! No, I'm serious, my cynical friend—what position would you like in the new government?"

"Let's see—why don't you make my descendants real peachy happy and make me, say, Administrator of Civilian Relations. That sounds big and important."

"Fine, fine! Tell me, Bartle—how are your relations with psychotics?"

Bartle leaped to the floor. Instantly he recalled what Pettigill had said that had disturbed him. When they had been discussing the repercussions of a miscast, Pettigill had said, "it will be disastrous" and not "it would be disastrous." The devil had been planning just such a thing for God knows how long!

"How many of 'em, Pettigill?" Bartle asked.

"A lot, Bartle, a lot," the little man answered. "I would say 170 million! I might even say, a nation of psychotics!" He giggled again.

A smile sliced through Bartle's sallow cheeks. "My relations with them would be the best! Keep that Scotch handy, Pettigill. I'll be right over."

*** END OF THE PROJECT GUTENBERG EBOOK TAPE JOCKEY ***

Updated editions will replace the previous one—the old editions will be renamed.

Creating the works from print editions not protected by U.S. copyright law 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™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. 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™ 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™ License available with this file or online at www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works

1.A. By reading or using any part of this Project Gutenberg™ 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™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ 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™ 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™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ 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™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law 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™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ 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™ 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™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than 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™ License must appear prominently whenever any copy of a Project Gutenberg™ 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 in the United States and most other parts of the world 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. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (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™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ 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™ 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™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™.

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™ 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™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (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™ 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™ 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™ electronic works provided that:

- • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ 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™ 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™ 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™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ 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 works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ 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™ trademark, and any other party distributing a Project Gutenberg™ 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 1.F.3. 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 MERCHANTABILITY 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™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ 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™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause.

Section 2. Information about the Mission of Project Gutenberg™

Project Gutenberg™ 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 are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ 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™ 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 information page at www.gutenberg.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. 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 business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact

Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation

Project Gutenberg™ depends upon and cannot survive without widespread 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 www.gutenberg.org/donate.

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: www.gutenberg.org/donate.

Section 5. General Information About Project Gutenberg™ electronic works

Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support.

Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright 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 website which has the main PG search facility: www.gutenberg.org.

This website includes information about Project Gutenberg™, 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.

Table of Contents

- TAPE JOCKEY

- THE FULL PROJECT GUTENBERG LICENSE