John Legend Hinman

Visit to download the full and correct content document:

https://ebookmass.com/product/john-legend-hinman/
More products digital (pdf, epub, mobi) instant
download maybe you interests ...

Highland Legend Kathryn Le Veque

https://ebookmass.com/product/highland-legend-kathryn-le-veque-2/

Highland Legend Kathryn Le Veque

https://ebookmass.com/product/highland-legend-kathryn-le-veque-4/

Highland Legend Kathryn Le Veque

https://ebookmass.com/product/highland-legend-kathryn-le-veque/

Highland Legend Kathryn Le Veque

https://ebookmass.com/product/highland-legend-kathryn-le-veque-3/
A Cowboy of Legend Linda Broday

https://ebookmass.com/product/a-cowboy-of-legend-linda-broday-5/

A Cowboy of Legend Linda Broday

https://ebookmass.com/product/a-cowboy-of-legend-linda-broday-2/

A Cowboy Christmas Legend Linda Broday

https://ebookmass.com/product/a-cowboy-christmas-legend-linda-
broday-8/

A Cowboy Christmas Legend Linda Broday

https://ebookmass.com/product/a-cowboy-christmas-legend-linda-
broday-6/

A Cowboy Christmas Legend Linda Broday

https://ebookmass.com/product/a-cowboy-christmas-legend-linda-
broday-3/
 «:;:; i:: i

|kg^^SI^V4:«>» ».»*
^VIiBbibA/* 4* * * '
i j
I
BHHijMmm «1«* $ A 4 •*. i
*^4444*

Bonnie Hinman
-Z.C7C
 Mitchell Lane
PUBLISHERS
P.O. Box 196
Hockessin, Delaware 19707
Visit us on the web: www.mitchelllane.com
Comments? email us; mitchelllane@mitchelllane.com
 Mitchell Lane
Copyright © 2010 by Mitchell Lane Publishers. All rights reserved. No part of this book may be repro¬
duced without written permission from the publisher. Printed and bound in the United States
of America.

Printing 123456789

Blue Banner Biographies

Akon Alan Jackson Alicia Keys
Allen Iverson Ashanti Ashlee Simpson
Ashton Kutcher Avril Lavigne Bernie Mac
Beyonce Bow Wow Brett Eavre
Britney Spears Carrie Underwood Chris Brown
Chris Daughtry Christina Aguilera Christopher Paul Curtis
Ciara Clay Aiken Cole Hamels
Condoleezza Rice Corbin Bleu Daniel Radcliffe
David Ortiz Derek Jeter Eminem
Eve Fergie (Stacy Ferguson) 50 Cent
Gwen Stefani Ice Cube Jamie Eoxx
Jay-Z Jennifer Lopez Ja Rule
J.K. Rowling John Legend Jessica Simpson
Joe Flacco Johnny Depp JoJo
Justin Berfield Justin Timberlake Kanye West
Kate Hudson Keith Urban Kelly Clarkson
Kenny Chesney Kristen Stewart Lance Armstrong
Leona Lewis Lil Wayne Lindsay Lohan
Mariah Carey Mario Mary J. Blige
Mary-Kate and Ashley Olsen Miguel Tejada Missy Elliott
Nancy Pelosi Natasha Bedingfield Nelly
Orlando Bloom P. Diddy Paris Hilton
Peyton Manning Pink Queen Latifah
Rihanna Ron Howard Rudy Giuliani
Sally Field Sean Kingston Selena
Shakira Shontelle Layne Soulja Boy Tell 'Em
Taylor Swift T.I. ■ Timbaland
Tim McGraw Toby Keith Usher
Vanessa Anne Hudgens Zac Efron

Library of Congress Cataloging-in-Publication Data

Hinman, Bonnie.
John Legend / by Bonnie Hinman.
p. cm. — (Blue banner biographies)
Includes bibliographical references and index.
ISBN 978-1-58415-774-8 (library bound : alk. paper)
1. Legend, John-Juvenile literature. 2. Rhythm and blues musicians-United States - Biomaphv-
Juvenile literature. I. Title. & n r
ML3930.L33H56 2009
782.421644092-dc22
[B]
2009006308

ABOUT THE AUTHOR: Bonnie Hinman loves music and singing and enjoys learning more about
modern soul music, including rap and hip-hop. A graduate of Missouri State University, she is the
author of twenty books for young readers, including Extreme Cycling with Dale Holmes for Mitchell
Lane Publishers. She lives in Southwest Missouri with her husband. Bill, near her children and four
grandchildren.

PUBLISHER'S NOTE: The following story has been thoroughly researched, and to the best of our
thTm hfi!h ^ ^hile every possible effort has been made to ensure accuracy,
the publisher will not assume liability for damages caused by inaccuracies in the data and makes no
end™ d ly JlTeJS This story has not been authorized or

PLB
 Sianne^

Chapter 1
Music Proaigy.5
Chapter 2
John “the Legend".9
Chapter 3
Working Hard.13
Chapter 4
Show Me.18
Chapter 5
New Gigs.22
Chronology.28
Discography..29
Further Reading.30
Works Consulted..30
Index..32
 Music Prodigy
H. fallelujah" was the first thing John Legend's mother said
when he called to tell her he had been nominated for eight
Grammy awards. She had a right to be excited that her
twenty-seven-year-old son had been so honored. Only stars
Mariah Carey and Kanye West had received so many
nominations for the important music awards for 2005. It was
even sweeter because this was the first year that John had
been in the running. His first studio album. Get Lifted, had
debuted at the end of December 2004.
Legend later told USA Today of his eight nominations, "I
was floored. I couldn't believe it." The Grammy show aired on
February 13, 2006. John was asked to sing his hit single,
"Ordinary People," as part of the entertainment. One of the
highlights for him happened during rehearsal when Paul
McCartney of the Beatles approached the piano where John
was playing. A few weeks later, John told Rolling Stone
interviewer Austin Scaggs, "He walked up to the piano and
said, 'Sorry, but I just wanted to tell you that I think your song
is beautiful.' Meeting him was cool but getting a compliment
from one of the best songwriters in the world was very, very
cool."
 Unlike many other singers, John writes his own songs and
takes song writing very seriously. "Ordinary People" was
nominated for Best Song of the Year, which is a songwriter's
award. Legend told an Orlando Sentinel reporter, "To get
nominated for that is very gratifying."
Legend went to the podium three
times that night to collect awards. He
Unlike told Scaggs that he was very nervous
many other when he gave his three thank-you
singers, John speeches, and he forgot to thank just
about everybody. According to
writes his
Scaggs, Legend later laughed and
own songs said, "I forgot to thank so many
and takes people that at least they're in good
songwriting company."
very John took home the trophies for
Best New Artist, Best R&B (rhythm
seriously. and blues) Album, and Best Male
R&B Vocal Performance for
"Ordinary People." It was a nice
reward for many months of touring,
rj but only the beginning for the
talented young songwriter, singer,
and pianist.
John also admitted in the Rolling
Stone interview, "Tm still floatin' on
air." But his feet were actually
planted on the ground, because the
next thing he said was, "Tm ready to make another album. Tm
pumped. Tm ready to do this." He went back to his
Manhattan apartment to work on songs for a new album.
John came on the music scene suddenly— or so it seemed.
But as often happens, he had been working and preparing for
his Grammy awards his entire life. He was born in
Springfield, Ohio, on December 28,1978. His last name was
Stephens then, and his fanaily often called him Johnny.

6
 John's father, Ronald Stephens, was a factory worker, and
his mother, Phyllis, was a seamstress and homemaker. His
childhood centered on the church and music. His mother
directed the church choir; his grandmother was the organist;
his father and older brother, Ronald II, played drums; and his
grandfather was the pastor. When John was four years old, he
asked for piano lessons so that he could be a part of the
musical fun.

Legend proudly displays two of the three Grammy Awards he won at the
49th annual event on February 12, 2007, in Los Angeles.
 His parents agreed even though he couldn't yet reach the
pedals on the piano, which sat in their front room. It didn't
take long for John's musical talent to blossom. By the time he
was six, he was singing in the church choir and playing the
piano for services. When he was eleven, he directed the choir.
Legend spoke of the church's influence on his musical
career in a 2006 interview with Newsweek. "It's such a great
training ground for young black musicians. You have an
audience, it's an important part of the service and it makes
you want to be a better musician."
John wasn't only a music
prodigy. He skipped two grades in
elementary school, and won
"Tnt ready Springfield's city spelling contest
to make when he was in fourth grade. He
another graduated from North High School

album, rm at age sixteen, as the school's

salutatorian. He considered himself a
puynped. nerd in school because of his good
rm ready grades and love of learning, but he
to do was also well liked.
this." Two more children were added
to the family after John. Vaughn came
next, and then Missy, the only girl.
The family was close then, as they
continue to be.
John took part in all the high
school music opportunities, including
musicals and talent shows. He started
two different R&B bands during his
teenage years and continued to sing
and play at church.
Right after high school, John
became a freshman at the University of Pennsylvania. He was
young for college, but his love of music helped him fit in and
succeed with the older students.

8
 John ^^the Legend"
A
g\t the university, John joined a jazz and pop singing group
called Counterparts. They performed a cappella, or without
instrumental accompaniment, and received national
recognition while John was a member. He was both president
and music director for the group. John majored in English
with an emphasis on African American literature.
He also worked as a choir director and pianist at the
Bethel AME Church in Scranton, Pennsylvania, just outside
Philadelphia. He kept this job for nine years. Besides
providing money, the church job kept him in touch with his
musical roots.
When Stephens was nineteen, a friend invited him to go
with her to a recording session with hip-hop star Lauryn Hill.
The friend, Tara Michel, was a backup singer for Hill. Tara
bragged about John's musical talents until Hill listened to him
play the piano. Hill agreed with Tara and hired John to play
piano for "Everything Is Everything." The song would later
become a hit single from her debut album. The Miseducation of
Lauryn Hill.
Hill invited Stephens to try out for her band. He was
willing to drop out of college to take advantage of this

9
opportunity, but after the audition, he wasn't hired. John
talked about his disappointment in a later interview with Joss
Stone for Interview magazine. "When I was younger I thought
I was supposed to have a record deal by age 19 or 20. When it
didn't happen, I would get frustrated, but I would keep
working and progressing and making new songs and
recording new demos."

^elta

NLEGEND

Legend, along with guitarist Shark/Hohley and singers Jessica Wilson

and Tara Michel, performed an in-flight concert to celebrate the 50th
anniversary of the Grammys. Fifty lucky music fans won a seat on the
Delta Airlines Grammy plane for the trip from New York City to Los
Angeles for the Grammy Awards broadcast in 2008.

10
 Instead of going on the road with Hill, John stayed in
school and graduated in 1999. He moved to New York City to
take a management consulting job with Boston Consulting
Group. The new job paid well above what most new college
graduates make, but it was a means to an end for him. It
allowed him to live comfortably in New York City while he
spent his evenings and weekends singing and playing piano
in nightclubs from New York to Philadelphia.
John self-produced two albums of
his music while he was working the
nightclub circuit. They were released
'When I was
under his given name, John Stephens, younger I
as John Stephens (2000) and Live at thought I was
Jimmy's Uptown (2001). He sold the supposed to
CDs at his performances and on his
web site.
have a record
John's biggest break came in 2002 deal by age
when his roommate and fellow 19 or 20.
musician, DeVon Harris, introduced When it didn't
him to Kanye West, who was
DeVon's cousin. Hip-hop artist West
happen, I
was on the way to success. The two would get
performers became good friends, and frustrated..."
each was important in the other's
career. They collaborated closely on
each other's albums.
West also introduced John to
several established artists who hired
him to play piano and sing backup
vocals. He worked with Janet Jackson,
Alicia Keys, Jay-Z, the Black Eyed
r J
Peas, and Twista. He also cowrote some songs with Jackson
and Keys.
Chicago poet J. Ivy was at one of the recording sessions
for West's album. The College Dropout, and heard Stephens
sing. He called John "the Legend" because he sounded so

11
much like soul singers of the past, including Stevie Wonder
and Marvin Gaye. The nickname stuck, and eventually John
Stephens became John Legend.
After the success of The College Dropout, West started his
own record label, G.O.O.D. (Getting Out Our Dreams) under
Sony/BMG. The first artist he signed was John Legend. West
was the executive producer of what would become Legend's
award-winning album. Get Lifted.
John's When interviewed by People
biggest magazine in March 2005, Legend said
that West "has great instincts. He
break came gives me a lot of good advice on the
in 2002„„ creative level. We critique each
when his other's song productions. He also
roommate gives me good advice on dealing with
the record industry."
and fellow After Get Lifted was finished but
musician,... not yet released. Legend opened for
Devon Harris, West on West's 2004 tour. One song
introduced was released before the album. "Used
him to to Love U" eventually peaked at
number 32 on the Hot R&B/Hip-Hop
Kanye West Singles & Tracks chart. Legend also
did a small-venue and college tour in
December 2004 to build excitement
for the album. The excitement was
building —but releasing an album is
only the beginning of the hard work
required to sell it.
 Working Hard
et Lifted was released on Legend's twenty-sixth birthday,
December 28, 2004. Legend celebrated the release with a free
concert staged in a park in his hometown of Springfield.
The concert also featured his family as performers. Fifteen
members of his extended family had recorded 'Tt Don't Have
to Change" with John for his album. The song was a tribute to
family and gospel.
Music critics immediately praised Get Lifted for its soulful
sounds, which reflected Legend's church background
combined with a touch of hip-hop. The song lyrics weren't
old-fashioned, but their delivery did bring some comments
about Legend being a new Stevie Wonder or Marvin Gaye.
"Ordinary People" became the hit. The ballad is about the
everyday challenges of life for a couple. In a December 2004
interview with Billboard, Legend said about the song, "My
parents were divorced for 12 years, and they got back
together. The song shows that there are ups and downs in any
relationship." Later, Legend's parents would split up again.
Tom Sinclair of Entertainment Weekly, who had reviewed
Get Lifted two weeks after it was released, said he thought
releasing "Ordinary People" as a single wouldn't happen. The

13
Legend and girlfriend Christine Teigen arrive at a Grammy Awards party
in Beverly Hills, California, on February 10, 2008. Model Christy is of
Thai and Norwegian descent but was bom in Utah. The couple began
dating in 2007.

14
 song featured only John's singing and piano playing. Sinclair
said that the simple production of the ballad was the opposite
of the usual complicated arrangements and production found
in modern rhythm and blues and hip-hop music. However,
that simplicity turned out to be one of the song's strengths.
Commercial success built steadily, too. Within two weeks
of the Get Lifted release, the album had climbed to number
four on the charts, selling almost
200,000 copies. In February 2005,
Legend began a 35-city tour, opening Within two
for Alicia Keys. He began his first weeks of the
headlining tour in June, performing
in just as many cities.
Get Lifted
Legend became known for his
release, the
hardworking style in addition to his album had
musical talents. In June 2007, he told climbed to
Angus Batey, reporter for The number four
Guardian (London), "It always amazes
me that I should stand out among
on the charts,
other artists for working hard. selling almost
Shouldn't everybody work hard? . . . 200,000
If you don't seize this opportunity, cobles.
it's going to go away. You might not
be as smart or you might not have as
good a record, but there should be no
excuse for not working hard."
There was one unwelcome side
effect from all the singing that Legend
did in 2005. His voice became
strained, and his throat hurt. He
consulted a voice coach for the first time. Total vocal rest was
prescribed for a short time, and then John was coached into a
smoother, cleaner tone. It was a change for him, as his voice
had been described as raspy or raw, but his fans didn't seem
to mind the new sound.

15
Legend was a headliner at the only North American stop for the 2008 THISDAY
Africa Rising Music and Fashion Festival series. He performed at the Washington/
D.C., Kennedy Center on August 1. The Africa Rising Festival was started in
Nigeria to show positive images of Africa through its music, fashion, and arts.
Another random document with
no related content on Scribd:
 25. I shall recommend but one more help; and that is, the
conscientious use of that holy sacrament, which is peculiarly
appointed to nourish and increase the spiritual life, when once it is
begotten in the soul. All the instruments of religion meet together in
this ordinance; and while we address ourselves to it, we are put to
practise all the rules which were mentioned before. Then it is that we
make the severest survey of our actions, and lay the strictest
obligations on ourselves: then are our minds raised to the highest
contempt of the world, and every grace doth exercise itself with the
greatest activity and vigour. All the subjects of contemplation there
present themselves unto us with the greatest advantage; and then, if
ever, doth the soul make its most powerful sallies towards heaven,
and assault it with a holy and acceptable force. And certainly the
neglect, or careless performance of this duty, is one of the chief
causes that be-dwarfs our religion, and make us continue of so low a
size.

A P R A Y E R.
A ND now, O most gracious God, Father and fountain of mercy,
who hast blessed us with the knowledge of our happiness,
and the way that leadeth unto it, excite in our souls such ardent
desires after the one as may put us forth to the diligent prosecution
of the other. Let us neither presume on our own strength, nor distrust
thy assistance; but while we are doing our utmost endeavours, still
depend on thee for success. Open our eyes, O God, and teach us
out of thy law. Bless us with an exact and tender sense of our duty,
and a knowledge to discern perverse things. O that our ways were
directed to keep thy statutes! Then shall we not be ashamed when
we have a respect unto all thy commandments. Possess our hearts
with a generous and holy disdain of all those poor enjoyments which
this world holdeth out to allure us, that they may never be able to
inveigle our affections, or betray us to any sin. Turn away our eyes
from beholding vanity, and quicken thou us in thy law. Fill our souls
with such a deep sense of those great truths which thou hast
revealed in the gospel, as may influence and regulate our whole
conversation: so that the life which we henceforth live in the flesh,
we may live through faith in the Son of God. O that the infinite
perfections of thy blessed nature, and the astonishing expressions of
thy goodness may overpower our hearts; that they may be
constantly rising towards thee in flames of devout affection, and
enlarging themselves in cordial love towards all the world for thy
sake; and that we may cleanse ourselves from all filthiness of flesh
and spirit, perfecting holiness in thy fear, without which we can never
hope to behold and enjoy thee. Finally, O God, grant that the
consideration of what thou art, and what we ourselves are, may both
humble and lay us low before thee, and also stir up in us the
strongest and most ardent aspirations towards thee. We desire to
give up ourselves to the conduct of thy Holy Spirit: lead us in thy
truth, and teach us, for thou art the God of our salvation. Guide us
with thy counsel, and afterwards receive us unto glory; for the merits
and intercession of thy blessed Son, our Saviour. Amen.

The End of the Eighth Volume.

 E R R A T A, Volume VIII.
Page 47, line 5, replace while

Page 57, line 22, replace bounds

Page 95, line 24, replace hast

Page 111, line 11, replace are

Page 118, line 2, replace heavy

Page 130, line 6, replace by

Page 146, line 9, replace Life. Men

Page 147, line 14, replace so even

Page 148, line 27, replace dele as

Page 149, line 1, replace as to

Page 149, line 2, replace dele as

Page 151, line antepenultimate, replace worthy of

Page 169, line 18, replace how the

Page 190, line 8, replace appears

Page 190, line 9, replace can

Page 197, line 10, replace last

Page 201, line 12, replace eats out

Page 204, line 5, replace tongues

Page 210, line 8, replace that thou

Page 242, line 2, replace for virtues

Page 253, line ultima, replace attend

Page 282, line 24, replace dele of

Page 286, line 6, replace then

Page 286, line 16, replace boys be

Page 286, line 20, replace So far from that

Page 325, line 13, replace frequent

Page 344, line 16, replace looked

Page 344, line 26, replace requires.

Page 344, line 30, replace own our

 *** END OF THE PROJECT GUTENBERG EBOOK THE WORKS
OF THE REV. JOHN WESLEY, VOL. 08 (OF 32) ***

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.