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Help keep our prices low: Tell a friend about this vacation!
Begins: Phoenix, Ends: Las Vegas
As part of Caravan's fully guided, all inclusive Grand Canyon tour, our guests also get to enjoy a Zion National Park tour.
Located just 78 miles from Bryce Canyon, Zion National Park is another must see tourist attraction on Caravan's 3 loop tour of Grand Canyon, Bryce Canyon and Zion National Park.
Mount Zion borrows its name from the Hebrew word "Zion" meaning a place of refuge or sanctuary. At 229 square miles, Zion was designated a National Park in 1919 and is now forever protected as a nature refuge for all tourists to enjoy.
Located in southwest Utah at the junction of the Mojave Desert, the Colorado Plateau, and the Great Basin, Zion National Park forms the middle level of the "Grand Staircase", with Bryce Canyon on one side and Grand Canyon National Park on the other.
Book Your Grand Canyon Zion Tour Now
Call Toll Free 1-800-227-2826
The Zion National Park tour, included as part of Caravan's Grand Canyon tour, reveals a spectacular cliff-and-canyon landscape, and a wilderness full of the unexpected including:
Zion Park has the richest diversity of plants in Utah with almost 800 native species.
Over millions of years, uplift, tilting and erosion of the earths' upper crust layers have formed a series of colorful cliffs creating a monumental geological feature known as the "Grand Staircase".
On our Grand Canyon Zion Park tour you will discover that at the bottom of the Grand Staircase is the Grand Canyon, a place where one third of the earth's age is displayed in rich geological detail. Above Zion National Park, at the top of the Grand Staircase, is Bryce Canyon National Park, where the youngest geological display is found.
Did You Know?
Caravan's Grand Canyon Zion tours include a Zion Park Tram tour that takes passengers through a narrow canyon where even cars and buses cannot go. During this time your highly knowledgeable Zion tour guide will share the history of Zion National Park Utah as you take in many of the natural landmarks that inspired early settlers:
While on Caravan's Grand Canyon tour, your all inclusive vacation includes a 2 night stay at Zion National Park Lodge, the only "in-park" resort accommodation at Zion National Park.
Designed back in the 1920's, Zion National Park Lodge was strategically placed within the 146,000 acres of cliffs, canyons and wildlife of Zion Park. Sadly the lodge burned down in 1966 but was quickly rebuilt in just 100 days. In 1990 the exterior of Zion National Park Lodge was restored to its original appearance.
Read comments from our Caravan Grand Canyon tour guests who submitted reviews about our fabulous Grand Canyon Zion tour.
During your Grand Canyon Zion Park tour you will have an afternoon to spend at your leisure. Many guests opt to:
If you book our Grand Canyon Zion National Park tour in the summer months you can experience temperatures ranging from the low 60's to the high 90's. Caravan Tours recommends all guests bring appropriate clothing to protect against the hot sun.
Day and night weather conditions within the Grand Canyon, Bryce Canyon and Zion National Park can differ as much as 30 degrees.
Caravan offers fully guided, all inclusive tours that are suitable for groups of all ages including families and seniors.
All Grand Canyon tour accommodations, ground transportation, itinerary activities, entrance fees and meals are included for one low, all inclusive price.
To book your Grand Canyon Zion tour visit Caravan's reservations page, or for more information please contact Caravan Tours toll free at 1-800 227-2826 or at 312-321-9800.
Request a Grand Canyon Zion tour brochure.
Visit our Grand Canyon tours FAQ page.
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|2*, 4, 6, 8, 10, 12, 14, 16, 18, 20, 22, 24, 26, 28, 30
|2, 4, 6, 8, 10, 12, 14, 16, 18, 20, 22, 24, 26, 28, 30
|1, 3, 5
**indicates Super Value date
*indicates Great Value date
|Room Type
|Super Value
|Great Value
|Special Value
|$ 1395
|$ 1495
|$ 1595
Plus Taxes and Fees:
Double $229; Triple $209; Single $289
Call 1-800-Caravan. You can reserve space free for up to 3 days, then a $300 deposit per person is due. Full payment due 60 days prior to departure.
$99 Travel Protection Plan
Caravan's $99 travel protection plan offers peace of mind if you cancel for any reason whatsoever prior to the departure of the tour. The travel protection plan also includes air, baggage, evacuation and medical coverage.
Airfare is not included or sold by Caravan. Here is a list of some of the airlines that service this tour.
Meals included are shown by:
B=Breakfast, L=Lunch, D=Dinner
Phoenix, Arizona
Doubletree Suites
2, 3
Grand Canyon
Grand Canyon Park Lodges:
Thunderbird / Maswik / Kachina
4, 5
Lake Powell
Lake Powell Resort
6, 7
Zion Park
Zion Park Lodge
Master Card, Visa, or check.
Accommodations in the hotels and lodges are rooms with two beds and private bath or shower. A limited number of single rooms are available. Triple rooms are usually two beds, sometimes with a cot or rollaway.
Doubletree Suites
Central to Phoenix, Scottsdale and Tempe, Doubletree Guest Suites Phoenix-Gateway Center features beautiful, newly renovated two room suites within walking distance of boutique shopping and dining. Local golf courses and tennis courts are a short drive away. The hotel has a bar/lounge, swimming pool, fitness center, television, wetbar, speaker phones, high speed internet access, and data ports.
Stay two nights at a Grand Canyon National Park lodge. Caravan's lodges are all located inside the park, near the South Rim. All rooms are non-smoking. A free shuttle bus system operates within the park, offering free transport between all lodges, restaurants, the West Rim drive, Yavapai geology museum, and the Park Visitor Center. Elevation at the Grand Canyon's South Rim averages 7,000 feet.
Thunderbird Lodge is a contemporary lodge located a few feet away from the rim edge of the Grand Canyon. All of the rooms have either two queen beds or one king bed, in-room coffee, refrigerator, safe, cable television, telephone, full bath, and air conditioning. Handicap rooms are also available. At Thunderbird Lodge, it's just a three minute walk to the Bright Angel Restaurant, Arizona Room Restaurant, and El Tovar Restaurant.
Kachina Lodge is a contemporary "twin" lodge to the Thunderbird Lodge, located just a few feet away from the rim edge of the Grand Canyon. All of the rooms have either two queen beds or one king bed, in-room coffee, refrigerator, safe, cable television, telephone, full bath, and air conditioning. Handicap rooms are also available. At Kachina Lodge, it's just a three minute walk to the Bright Angel Restaurant, Arizona Room Restaurant, and El Tovar Restaurant.
Maswik North Lodge is a modern lodge surrounded by a Ponderosa pine forest. It's located one third of a mile from the rim edge of the Grand Canyon. All rooms have two queen beds or one king bed, in-room coffee, refrigerator, safe, cable television, telephone, full bath, and air conditioning.
Stay two nights at Lake Powell Resort. The resort is located on the shores of Lake Powell at Wahweap Marina, about 5 miles from the town of Page, Arizona and 2 miles from Glen Canyon dam. The modern lodges at Lake Powell Resort all have two queen beds, air conditioning, in-room coffee, cable television, telephone, hair dryer, full bath, and air conditioning. Lake Powell Resort has two pools, a jacuzzi, a small beach on the lake shore, 2 restaurants, and a bar. Your breakfast is included each day at the world famous Rainbow Room, with spectacular views of the Glen Canyon and Lake Powell.
Zion Park Lodge
Stay two nights at historic Zion Park Lodge. This is the only lodging located inside Zion National Park. The lodge is situated in the center of the valley floor and surrounded by spectacular 2,000 foot sandstone canyon walls. The exterior of the lodge has been restored to its original 1920's classic appearance. Hotel rooms feature air conditioning, phones, flat-screen televisions with satellite reception, radio alarm clocks, iron and ironing boards, hairdryers, coffeemakers and complimentary wireless internet. Zion Park offers a diverse selection of picturesque trails ranging from short, easy jaunts to strenuous adventures. Some of the trails begin immediately outside the lodge.
Caravan's Phoenix, Arizona hotel, the Doubletree Suites (320 North 44th St.) provides a courtesy shuttle from the Phoenix Sky Harbor International Airport (PHX). Upon arrival, request a pickup using the Doubletree's courtesy phone at the baggage claim area or call the hotel directly at: 602-225-0500. The shuttle operates 24 hours daily. Taxis cost approximately $15.00 and take 10 minutes.
Caravan's vacation packages include a departure transfer to McCarran Airport (LAS) in Las Vegas, Nevada on the day the tour ends, arriving by 11:30 a.m. Please schedule flights after 1:30 p.m. If you wish to extend your stay in Las Vegas, taxis and shuttles are available from the airport. (Las Vegas regulations prohibit Caravan's motorcoach from making stops at individual Las Vegas hotels.) Taxis cost $15.00 and take 25 minutes. There are several airport shuttle services located near the dropoff point. The airport shuttles depart every ten minutes and the cost is $5.00 per person each way. The shuttle transfer time to hotels is approximately 45 minutes. No advance reservations are necessary from the airport.
Airfare is not included or sold by Caravan Tours. Here are lists of airlines that service this tour:
|AeroMexico, Air Canada, AirTran Airways, Alaska Airlines, America West, American Airlines, American Transair, ATA, British Airways, Continental, Delta, Frontier, Lufthansa, Mesa Airlines, Midwest Express, Skywest Airlines, Southwest, Sun Country, Ted, United Airlines, US Airways
|AeroMexico, Air Canada, AirTran Airways, Airtransat, Alaska Airlines, Allegiant Air, Aloha Airlines, America West, American Transair, ATA, British Airways, Champion Air, Comair, Continental, Delta, Frontier, Hawaiian Airlines, Japan Airlines, Jetblue, Mexicana, Midwest Express, Omni Air International, Singapore Airlines, Skyservice, Sun Country, Ted, United Airlines, US Airways, Virgin Atlantic, Westjet
|Grand Canyon
|Lake Powell
|Zion Park
This is a predominantly casual tour. Casual wear is suggested for sightseeing and daytime travelling. A good pair of tennis shoes or hiking shoes is recommended for walking in the parks. Please bring a sweater or jacket to wear on the air conditioned motorcoach, and to wear at night at higher elevations such as the lodge at the Grand Canyon. Please bring a lightweight rain poncho in case of rain. Dress code for most evenings is smart casual.
Virtually everything! Hotels, most meals, all of the activities described in the itinerary pages, airport transfers in select cities, gratuities to hotel porters, restaurant staff and local guides. Caravan's professional Tour Directors and local guides will be with you every step of the way, ensuring a worry free vacation.
Prices do not include air travel, airport porter fees, visas, phones, laundry, all items of a personal nature, food and beverages not on the regular menu. Tips to the Caravan Tour Director and Driver are not included. General fees and taxes are additional and listed separately beneath each tour's price.
Yes. Usually you find a mix of different age adult travelers on a Caravan Tours. Most tours will be joined by adults of all ages. Childen age five (5) and over are welcome, and children usually join tours offered during Christmas holidays, summer vacation and spring break vacation.
Yes. Park ranger programs are given nightly at the Grand Canyon National Park and at Zion Lodge.
A well paced and unhurried itinerary is our goal, after all, you are on vacation! Touring days begin and end at reasonable hours and include frequent stops. Tours usually depart in the mornings between 8:00 a.m. and 9:30 a.m. and arrive in the afternoon at your destinations. We do our best to ensure a leisurely vacation.
Group sizes will vary depending on the reserved rooms at the hotels and lodges and the capacity of the motorcoaches used. Usually, the tour group size will range from 36 to 44 passengers.
Included meals for each tour are listed at the end of each day. Meals are shown by B (breakfast), L (lunch) and D (dinner). All meals in Latin America are included. Most meals are included in the USA and Canada. Full, buffet, or deluxe continental breakfasts are included everywhere. Coffee and tea are provided at all meals. In Latin America, bottled water is provided free on the motorcoach and purified water is provided at the meals. Alcoholic beverages are not included unless specified.
"We had an outstanding tour director. His depth of information and knowledge on the locations was amazing. His daily handouts about what we were to see that day were very informative and a great idea. The teamwork and interaction between he and the driver were excellent. It was a first class tour well planned in every respect This was our second Caravan tour and we are already thinking about the next one."Mr. & Mrs. T.K., Hillsborough, North Carolina
"All of the meals were great! I enjoyed the food and the friendly staff. I would recommend this tour along with our same tour director and driver. The tour was the most amazing trip on which weve ever been! This was our first trip out West and we could not have asked for a better, more enjoyable and more valued tour! The hotels were great, the sights were breathtaking, and the meals were excellent. We never felt rushed and we cant wait to go on another Caravan tour! Thank you for a truly memorable and extremely valued tour. Keep up the good work"Mr. & Mrs. S.P., Harrisonburg, Virginia
"The whole trip was one wonderful sightseeing adventure. I am so glad we took a bus tour as opposed to driving so both of us could see the sights rather than one driving and missing it all. The tour director and driver were excellent in alerting us in advance of upcoming views. I had no idea how beautiful the area was and how unique each park would be. Being able to see the diverse areas on the tour made it even more spectacular than I could have imagined. This trip was way beyond my expectations. I have only done day tours so I was not sure what to expect. By the end, I felt like everyone was family. I have never been so sorry to see a trip end. I have always been a cruise person, but you have converted me! If all the tours are as good as this was and the tour directors are as knowledgeable as ours, we will be on more Caravan tours. I have read about all the canyons, but I never imagined the beauty of each of them and the other areas we visited. "Mr. & Mrs. J.R. Yorktown, Virginia
"I first used Caravan on the Canadian tour and loved it. I really enjoyed this tour a lot."Mr. & Mrs. R.C., Centreville, Virginia
"The tour director and driver provided far more quality of care and efficiency than expected. Having a four member party, including children, this was a very welcomed surprise. I would recommend Caravan to my friends."Mr. & Mrs. R.O., Ashburn, Virginia
"The sightseeing and activities were very good. Plenty to see and absorb. To me, it was the right amount to see. Lake Powell was great! The motor coach was nice. It was clean, new and comfortable. I was concerned about this before the tour, but that soon went away! It was an absolutely great coach tour. I am recommending it back home. I will do it again somewhere next year. Please let us know if our tour director moves to another tour. We would like to take one with her again! Thanks for a great vacation!"Mr. & Mrs. M.S., Elkton, Florida
"The hotels were terrific! Loved not having to deal with luggage. Once on the tour, they treated us like Royalty! The meals were all EXCELLENT! I was so impressed that Caravan provided such wonderful meals in our tour cost. We absolutely had the dream team with our tour director and driver! It was our first bus tour, but it wont be the last. Caravan is so value packed and has attended to the most minute detail to get the most value for our money. Thank you. I wouldnt choose another company if Caravan has a package of where we want to go. Some friends drove from Oklahoma and made the same trip. They spent twice the money and didnt see half of what we did. Thank you for making it so great for so many for so long! It was a great trip and we would choose Caravan in the future! The meals were fine. I particularly like the coupon plan which allowed us to eat on our own schedule and not walk in with a big group. I enjoyed the sightseeing activities and I also enjoyed the free time in each National Park. The tram system allowed each of us to do as much as we wanted. This was my first Caravan tour and it will not be my last. It was exactly what was described in the brochure. It was smoothly run and enjoyable!"Mr. & Mrs. J.W., Downers Grove, Illinois
"Great bargain! Im recommending it to everyone, especially if they get our same tour director."Ms. J.T., West Palm Beach, Florida
"This is my fourth tour with Caravan. An added feature, and the most important to me is your choice of tour directors. The contract system you have for tour leaders certainly seems to bring out high quality people. I am thinking about trip number five in the near future."Ms. C.D., Honolulu, Hawaii
"I thought the sightseeing and activities we did at the Grand Canyon were AMAZING. I loved hiking through the narrows and up the side of the mountain in Zion National Park. The hotels were great! I will definitely recommend this tour to my friends!"Mr. & Mrs. R.O., Hashburn, Virginia
"We will definitely use Caravan in the future. Thanks!"Mr. & Mrs. I.L., Miami, Florida
"Our tour director did an excellent job. He worked hard to make everyone feel comfortable. We enjoyed his availability and willingness to mingle with those on tour. We were a little apprehensive about a tour as my family usually likes to do their own thing. With eight of us, we decided to try it. We liked the itinerary, planned activities and leisure time. When you have that many people, it takes sometimes half the trip to figure out the plan. This was nice, because everyone knew the plan and we still had time to do things we wanted to do. We could have done more, but felt we had a nice relaxing vacation that was very informative and a great learning experience for the kids and us. Besides, it was beautiful. The boys were excellent and all the people on the bus tour seemed to enjoy them, as they did everyone. We had a very nice group of people which helps to make or break a trip. We enjoyed meeting them and will treasure all of the new friendships we made. We will definitely consider another Caravan tour in the future."Mr. & Mrs. G.S., Fort Wayne, Indiana
"We thoroughly enjoyed the tour and plan to take other Caravan tours as a result of this wonderful experience."Mr. & Mrs. R.E. Montgomery, Texas
"The hotel accommodations were good. Every place we visited was different and beautiful. The driver got us to each destination on time. He kept the motor coach clean and supplied with water."Mr. & Mrs. M.M., San Jose, California
"I enjoyed the variety of hotel styles from elegant to rustic. All were comfortable and wonderfully clean. During the sightseeing and activities, I was delighted and amazed at the magnificence of our surroundings. Our tour director was exceptionally good. He adapted quickly to the expectations of all on the motor coach. He was careful to watch over all of us."Ms. G.E., Lubbock, Texas
"We recommend this trip to all. Looking forward to traveling next year to the North Parks, hopefully with our same tour director. This was our first tour and he made us realize that a lot would be missed if we had tried this trip alone. He made us all so comfortable and our driver made our trip feel safe. We had heard nightmare stories about tour buses, which you proved were all tales. Thank you for a very enjoyable experience."Ms. H.M., Selden, New York
"We particularly liked having ironing boards and irons in most of the hotel rooms. The tour director was excellent. He was efficient and well informed. We would travel with him anytime."Ms. B.D., Londonderry, New Hampshire
"The hotels were all fine. It was such a thrill to stay at Grand Canyon and Zion Parks. This was our tenth Caravan tour, the first in the U.S. As you can see, we enjoy traveling with you!"Mr. & Mrs. R.S., Appleton, Wisconsin
"The hotels were all clean and quiet. I didnt once have to use my ear plugs. The hotel at Zion was wonderful with the fireplace. We sat and talked with some of the other tourists."Mr. & Mrs. G.H., Flint, Michigan
"I enjoyed the hotel in Phoenix, Lake Powell and Zion National Park. The Grand Canyon hotel was also nice. It was a great trip. We loved it. Would use Caravan again."Mr. & Mrs. H.K., Old Bridge, New Jersey
"Looking forward to a third trip with Caravan."Mr. F.W., West Seneca, New York
"The hotels were all great and clean. The tour director was outstanding! He was not boring, yet explained points of interest. He has a great sense of humor. We were always right on schedule. He was always in control and had our keys. Id go again with the driver and tour director. I was pleased with all the people on the tour. I highly recommend Caravan. It was a great vacation."Ms. L.I., Grand Island, Florida
"I think our tour director was the most gifted tour guide. He was organized, knowledgeable and enthusiastic. He had a wonderful personality, very friendly and thoughtful. He gave individual attention to each participant. This is my third Caravan trip in a year, and I found this tour to be an excellent value. I enjoyed the sightseeing, the activities, the group, the driver but mostly our tour guide who made us see the beauty and value of nature."Ms. N.S., Queens Village, New York
"The trip was excellent! Our first time out West! What a great country and an excellent tour company who helped us enjoy it to the fullest. We saw a lot for a seven-day vacation. It was well planned and not too fast paced. We enjoyed our tour director. He had a lot of information to share about areas we traveled and was always courteous and concerned for each of us personally. He got us to church Saturday and we also greatly appreciated this! We really enjoyed the trip! Thank you."Mr. & Mrs. T.C., North Royalton, Ohio
"This is a 'five star' trip that everyone should take the time to do. Enjoyed leisurely pace, delicious meals, and outstanding side trips. Not only was this breathtaking scenery in the Grand Canyon, but everyday promised more and better things to see. Grand Canyon, Bryce Canyon, Zion National Park, Lake Powell, Monument Valley, I can't say enough good things. Thanks to our tour director, we learned SO MUCH about our country's history in the West. This was our first Caravan tour. Caravan is a very organized, efficient tour group that we will take again. THANK YOU SO VERY MUCH! "Mr. & Mrs. J.G., Venice, Florida These are only the first 25 reviews of this tour... Read all 174 Reviews »
Caravan Tours began selling fully escorted tours in 1952. We have been under the same management and ownership ever since. In 1965, Roger Mudd hosted a two hour CBS TV special on Caravan Tours. This TV production took about one month to make and was so successful it inspired the 1968 romantic comedy movie "If it's Tuesday this must be Belgium." In the early 50's the Mayor of Dublin presented Caravan with the Key to Dublin for bringing the first American tour to the city after WWII. Since then Caravan has been recognized as a pioneer in travel.
Caravan's strong buying power gives you great vacations at prices much lower than you can find anywhere. Last year many of our tours sold out quickly. Book early for the date you prefer and the best air fare.
Caravan Tours is a member of ASTA (American Society of Travel Agents), NTA (National Tour Association), CLIA (Cruise Lines International Association), and an allied member of ACTA (Alliance of Canadian Travel Agencies).
Caravan delivers volume to our suppliers, who in turn reward us with their very best prices, we in turn pass these savings on to you, and you reward us by buying our tours. As volume continues to rise, we then receive even better prices from our suppliers, and we pass even greater savings on to you. This year our tours are better than ever.
The short answer is "very." Our surveys are uniformly very positive. However we continually strive to improve our tours, (they are often updated several times in the course of one year), we study all client surveys and suggestions for improvement very carefully.
Caravan includes all activities listed in the tour itinerary page. Caravan does not sell any optional activities which can add hundreds of dollars to your tour price. Your free time is scheduled in great settings where there is no need to buy additional expensive activities.


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Affordable Private Education
Financial Aid for Educational Studies
Our low tuition makes Lewis University the most affordable Catholic university in Chicago and one of the most affordable private colleges in all of Illinois. Plus, we offer specialized scholarships specifically for educators, including:
Undergraduate Scholarships
The Lupe and Anselmo Calderon Endowed Scholarship
The Lupe and Anselmo Calderon Endowed Scholarship for Latino Students was created to assist Latino/Latina students pursuing a BA in Elementary Education. Student must be a junior or senior and hold a minimum GPA of 3.0.
The Clifton J. and Laura E. Kelly Endowed Scholarship
The Clifton J. and Laura E. Kelly Endowed Scholarship was created for students with a declared major in the field of Education, minimum GPA of 2.5, and financial need. Consideration is given for good academic and behavioral standing. Preference is given to male students.
Dr. Shirley A. McFaul Endowed Scholarship
The Dr. Shirley A. McFaul Endowed Scholarship was established in September 2002, to honor the long time faculty member of the College of Education. After a distinguished career as a teacher and college faculty member, Dr. McFaul passed away in May 2002. The scholarship was established by her family, friends and the College of Education to assist candidates who are furthering their careers by obtaining a degree in elementary education.
Gladys M. Meehan Endowed Scholarship
The Gladys M. Meehan Endowed Scholarship is awarded to students preparing for their initial teaching certification. The scholarship is named in honor of Gladys M. Meehan, a woman who fulfilled her lifelong dream of becoming a teacher at the age of 50 and then devoted 15 years as a fourth grade teacher in a Chicago parochial school. Established by her daughter and son-in-law, Margaret and Greg Maruszak, the scholarship has benefited more than 10 candidates since inception in 1997.
The Mines-Quinlan Annual Scholarship
The Mines-Quinlan Annual Scholarship was created to assist a full-time student enrolled within the College of Education, and working toward an undergraduate degree within any of the following College of Education majors (early childhood, elementary, secondary, special education, or a combination of these majors) and who have financial need.
The William B. Orenic Endowed Scholarship
The William B. Orenic Endowed Scholarship was created for Elementary Education majors entering their junior year who maintain a GPA of at least 3.25. Preference is given to residents of Will County. Application will submit an essay on the topic, "Why teach?"
Dr. Paul and Mrs. Ann Rubino Elementary Science Endowed Scholarship
The Dr. Paul and Mrs. Ann Rubino Elementary Science Endowed Scholarship was established in 2007 for future elementary science teachers. Mrs. Rubino was an elementary school science teacher for many years and is currently an adjunct faculty member in Lewis University's College of Education. The scholarship will assist elementary education students with financial need who are pursuing a science endorsement.
The Special Education Annual Scholarship
The Special Education Annual Scholarship was created for declared Special Education majors or a combined Special Education/Elementary Education major who has at least 30 credit hours and who demonstrates financial need.
Minority Teachers of Illinois Scholarship
View scholarship.
For more information about additional financial aid and scholarship opportunities, visit Lewis' Financial Aid Services page.
Graduate Scholarships
The Dr. Nancy J. Kennedy Endowed Scholarship was created to for education graduate students who are in good academic standing. Financial need must be demonstrated as determined by the Lewis University Financial Aid Office.
Dr. Edward T. Rancic Endowed Scholarship
The Dr. Edward T. Rancic Endowed Scholarship was established in May 2000, to honor the late faculty member of the College of Education. After a distinguished career as a teacher, administrator, superintendent and college faculty member, Dr. Rancic passed away in December 1999. The scholarship was established by his family, friends and the College of Education to assist students who are furthering their careers by earning advanced degrees and certification.
Dr. Martha H. Rusnak Scholarship for Reading Professionals
The Dr. Martha H. Rusnak Scholarship for Reading Professionals was established in June of 2009 to honor Martha Rusnak, Professor Emeritus, who developed the Graduate Reading and Literacy Program. During her tenure at Lewis University, she mentored numerous individuals. The scholarship was established to assist graduate students who are preparing to become reading professionals.
Lasallian Book Scholarship Fund
Lewis University is honored to have a gracious, generous and anonymous donor who has established the Lasallian Book Annual Scholarship Fund. The purpose of the scholarship is to assist graduate students from the College of Education who need financial assistance with book expenses throughout their graduate term at Lewis.
Reach Your Goals Scholarship Program
This exciting program is organized by Resources for the Education of Adults in the Chicago area (REACH) and is designed to assist the growing number of adult learners, over the age of 25, to enroll in graduate studies. Visit their Web site at www.reach-chicago.org
Federal Teach Grants
The Federal government offers a $4,000/year scholarship (up to $16,000) to undergraduates who want to go into teaching. Those seeking a Master's degree are eligible for a $4,000/year scholarship up to $8,000 total. Eligible students must have a 3.25 grade point average or receive a score above the 75th percentile on an admissions test.
TEACH Grant recipients must teach in high-need schools and high-need fields for a minimum of four years within eight years of finishing the program. The following shortage fields are targeted for TEACH grants: mathematics, science, foreign language, special education, bilingual education, reading specialists and other documented high-need fields. To read the legislative language describing the TEACH grants, visit the AACTE's website.
Graduate Assistantships
Staff and academic graduate assistants work with professors in the College of Education in exchange for tuition. These positions are coordinated through Human Resources or the specific department itself. All College of Education graduate assistants must be enrolled in a graduate program, be in good academic standing and be able to complete various tasks, including designing and maintaining spreadsheet files, maintaining student files and working with the College of Education faculty and staff on academic/administrative projects.
Staff graduate assistant positions require the graduate assistant to work 20 hours per week for the 16 weeks of the Fall and Spring semesters or 20 hours per week for the summer term, beginning in May and ending in August. These positions offer six to nine credit hours of graduate tuition plus stipends for the Fall, Spring and Summer semesters. For more information on these positions, please contact the College of Education office.
Academic graduate assistants must be available to work 100 hours during the semester. In exchange, one three credit hour graduate course is offered free of charge. The application form for an academic graduate assistant position can be found in the Guide for Initial Teacher Licensure Program Candidates or the Advanced Program Candidate Guide. These handbooks can be found on Blackboard.
For more information about additional financial aid and scholarship opportunities, visit Lewis' Financial Aid Services page.

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|The Imago (Picture courtesy of FreeDigitalPhotos.net)
The Imago
This is linky entry # 128.
A blog about travel, art, writing, and great reads. (Posts and photos are copyrighted, except for icons or pictures that are in the public domain.)
|The Imago (Picture courtesy of FreeDigitalPhotos.net)
Wow, what a good scene. It definitely makes me think and wonder what's going on. Great writing.
Wow, Elizabeth! That's awesome!
Oh my gosh I loved it! Wonderful job!! I'm a new follower by the way :) Nice to meet you!
(I'm entry #112)
Oh this is great. I love the tension you build with the 'reflection'. Great way to use the mirror from the prompt.
Such a beautifully written piece! Well done!
Great piece of writing - made me want to read more.
Scary and intriguing! I want to keep reading :)
Loved the way you introduced your character and ended it with an unexpectedly chilling conclusion. Not an easy feat. And those words! You used them expertly.
Great job, Elizabeth! :)
Wow, very interesting, is she a twin or another dimension of herself? You have me wanting more! ; )
Wonderful piece of writing. I loved how you used some of the words, especially "the pain that oscitated inside her". Very good. Such difficult words, sigh.
(I am #133)
Oooh and you are a fellow Californian, I've just noticed :)
I love your entry! What an interesting idea--if our reflections turned out to be independent.
Very creepy! What is it about mirrors that can be so unsettling?
Mine is #3.
wow, good scene and pretty creepy, too.
Great use of the words, and you built the suspense so well. I want to know more!
I like the sort of emotional intensity in this piece. I'm over from the campaign (#142).
I wasn't expecting that ending at all, I got carried away with all the details. I'm 153 BTW
Great build-up leading to an unexpected twist at the end! Love how easily you incorporated all the required words into this story.
I'm # 157
I want an explination too! Nicely done. Mine is #29
Thanks everyone. While we are in Spain, we don't get to the wifi cafes as often as we'd like, so I'm not able to respond so often. But I certainly appreciate your nice comments, and I'm reading as many of the stories as possible. It's just amazing (and fun) to see how different all the stories are!
I was impressed by the theme of your story and the way you compressed it into 200 words. Surely worth working up into something longer, to develop the creepiness and the tension? And with the Imago Challenge behind you, you can forget about those arcane 'challenge' words. Does anyone ever use them in their fiction/poetry/general conversation?
Thanks too for your comment on my Imago.
Great Job, Elizabeth. Pretty impressive.
Love this. It reads as a scene from a longer piece. I'm left with questions and want more :)
Back again in a wifi cafe. Thanks Raelyn, Rachna, and Doctor FTSE. These challenges are great for getting the creativity in action.
Wow, very creepy and intense. Makes me want to read more...the only trouble with these challenges is that I feel like I'm reading a hundred book openings without being able to read on! Great entry--I'm off to like it :)
Ooh! Awesome and surprising!
It's scary Elizabeth! (Great job!)
Excellent use of the challenge words. And the story is great too.
Cheryl, I agree, these challenges make you feel you've started all these stories and never know the end! :-)
Ali, Christy, and Randy, thanks for the kind support. Oddly, I was trying NOT to write a scary story, and then the ending just popped up—and it was the right word count. :-)
Ali, thanks for following me, and Cheryl, thanks for the "like".
Very nice work. You have a great voice.
What a great entry! I loved it. So creative and such a perfect use of the words :) Now off to follow your blog...
Ron and Jessica, thanks for the kind comments!
Riveting and a little unnerving. You did a great job!
Very well done. Sorry I'm so late commenting. The kids kept me busy more than usual. This snippet reads like a piece of a longer story. If ever you write it, let me know. I want to read it.
Thanks, Cat. I don't normally write Sci Fi or horror, so I don't if this will develop into anything or not. I see it as a beginning, too, and not a complete story.


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Here I am the first week of this meme and sliding in with my post on the last day. Better almost late than not at all! I enjoy reading blogs and they are a great help to me in learning about genealogy, organization methods, tech resources, research and writing, and those pesky citations. When I first started reading blogs I followed the big names and institutional blogs. As I got more into my research, I found that many of those blogs served as a launch pad for various press releases but oftentimes did not provide the personal and/or hands-on type of posts that informed, educated or entertained me.
At that point I started following blogs where the author shared and/or expanded my particular interests:
- How-Tos ~ Bloggers who try out software programs, websites, and/or explain how they do their research.
- Location ~ If it is about Ireland, Newfoundland, Norway, Slovenia or Sweden, you have a reader in me!
- Resources ~ Blogs that follow programs and websites I use, like Legacy Family Tree & RootsMagic, Excel, OneNote & PowerPoint, GenSmarts & Family Atlas, Ancestry.com & FamilySearch.org.
- Tech Stuff ~ Blogs that discuss subjects that I have decided to follow in order to become a better genealogist, specifically blogs about photography, education, organization, maps, and new products (computers, smart phones, apps, and the like).
There are so many great blogs out there and I follow many of them through Google+. Over the past six months I have been introduced to so many blogs I would have missed if I had not seen a snippet in my Google+ Stream. If you haven't added a Genealogy Circle to your Google+ Stream ~ make it a 2012 resolution!
That said, my top 3 blogs are:
- 'On a flesh and bone foundation: An Irish History ~ Jennifer's prose and photographs are stunning! She writes not only about her Irish heritage but our common Irish heritage. She shares with the rest of us the trials and triumphs, the saints and the sinners, the history and the folklore that make our Irish heritage so special. Go raibh maith agat.
- Genea-Musings ~ I don't know how he does it but Randy Seaver tries everything so we don't have to, points out the pros and cons, publishes screenshots, answers any question we send him, and just all around helps make our genealogy lives easier and better.
- Geneabloggers ~ Thomas MacEntee is a force for good in the genealogy world. Looking for a genealogy blog, a calendar of webinars, a spotlight on new blogs, any possible resource that will help you be a better blogger? Well, look no further than Geneabloggers. I can't tell you the number of times I have had a technical blog question, or wanted to find a blog about a particular genealogy niche and Thomas' blog was the place to go to find it.


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In June 2005, Steven "Zeke" Schein was killing time on his home computer when he logged on to eBay and typed "old guitar" into the auction site's search engine. Classically trained as a guitarist, Schein had turned his longtime passion for the instrument into a profession when, in 1989, he had joined the sales force at Matt Umanov Guitars, in Manhattan's West Village. In the more than 15 years that Schein had worked there, he had cultivated a regular clientele that included Patti Smith, ZZ Top's Billy Gibbons, and record producers Daniel Lanois and John Leventhal; he had also sold guitars to Bob Dylan, Pete Townshend, Brad Pitt, and Johnny Depp, among other celebrities. His job had also exposed him to the painstaking, detail-oriented detective work that often goes into identifying and authenticating vintage guitars. Even when the make, model, and serial number of an instrument are apparent, pinpointing its age and value sometimes requires scrutinizing the idiosyncrasies of its construction. The design of the instrument's tailpiece, its headstock, the number of frets embedded in its neck, its paint job or finish—all could be identifying factors.
Schein enjoyed this aspect of the business, and when he had nothing better to do, he would sometimes log on to eBay to test his knowledge against the sellers who were advertising vintage guitars on the Web site. At the very least, he found it amusing that some people had no idea what they were selling.
As he pored over the mass of texts and thumbnail photos that the eBay search engine had pulled up on that day in 2005, one strangely worded listing caught Schein's eye. It read, "Old Snapshot Blues Guitar B.B. King???" He clicked on the link, then took in the sepia-toned image that opened on his monitor. Two young black men stared back at Schein from what seemed to be another time. They stood against a plain backdrop wearing snazzy suits, hats, and self-conscious smiles. The man on the left held a guitar stiffly against his lean frame.
Neither man looked like B. B. King, but as Schein studied the figure with the guitar, noticing in particular the extraordinary length of his fingers and the way his left eye seemed narrower and out of sync with his right, it occurred to him that he had stumbled across something significant and rare.
If there was one thing that Schein was as passionate about as guitars, it was the blues, particularly the Delta blues, that acoustic, guitar-driven form of country blues that started in the Mississippi Delta and thrived on records from the late 1920s to almost 1940. Not long after he'd begun working at Matt Umanov, Schein's customers and co-workers had turned him on to this powerful music form, and, once hooked, he had studied the genre—its music and its history—with the same obsessive attention to detail that he brought to his work. And the longer Schein looked at the photograph on his computer monitor, the more convinced he became that it depicted one of the most mysterious and mythologized blues artists produced by the Delta: the guitarist, singer, and songwriter whom Eric Clapton once anointed "the most important blues musician who ever lived."
That's not B. B. King, Schein said to himself. Because it's Robert Johnson.
If his hunch was correct, he'd made quite a find. Johnson is the Delta-blues guitarist who on one dark Mississippi night "went to the crossroad," as he wrote in one of his most famous songs, to barter his soul to the Devil for otherworldly talent. At least that's how the legend that's become ingrained in popular culture has it. (In the song, "Cross Road Blues," Johnson is actually pleading with God for mercy, not bargaining with the Devil.) A short life, a death under murky circumstances, and a body of recorded work consisting of but 29 songs only added to that legend. So did the preternatural quality of his guitar playing, the bone-deep sadness of some of his music and lyrics, the haunting quaver of his smooth, high voice, and the dark symbolism of his songs. In some respects, you could say that Johnson is the James Dean of the blues, an artist whose tragically foreshortened life and small if brilliant body of work make him a figure of great romantic allure. This was especially true in the 60s and early 70s, when little was known about Johnson, and his music was being taken up by the likes of Clapton, the Rolling Stones, and Led Zeppelin. By the early 1990s, 50 years after his death, he was a platinum-selling artist, and since then he has influenced a whole new generation of guitar players, among them John Mayer and Jack White.
Defiant and Haunted
While popular culture loves a mystery, its most obsessive fans abhor a vacuum; thus there are vast archives of bootleg album outtakes and Ph.D. dissertations on forgotten record labels. The lives of poor, itinerant black musicians in the rural South of the late 1920s and 30s aren't the most well-documented of lives, but over the past 35 years, blues researchers and historians have done a pretty good job of revealing the man behind the Johnson myth, from his birth in Hazlehurst, Mississippi (May 8, 1911, is often cited as Johnson's birth date, though his birth certificate has yet to be found), to his death, which probably occurred in the Baptist Town section of Greenwood, Mississippi, in 1938. According to Elijah Wald's 2004 book, Escaping the Delta: Robert Johnson and the Invention of the Blues, there is currently more information available about Johnson "than about almost any of the bigger blues stars of his day." Still, in the field of Johnson research, attempting to separate fact from fiction from politics can be maddening. As Wald writes, "So much research has been done [on Johnson] that I have to assume the overall picture is fairly accurate. Still, this picture has been pieced together from so many tattered and flimsy scraps that almost any one of them must to some extent be taken on faith."
The biggest hole in this patchwork is the one thing that would establish Johnson's humanity in a society hooked on visual media: photographs. In the years since he died, only two known photographs of Johnson have ever been seen by the public. The first of those images is believed to have been taken in the early 1930s and has been described as Johnson's "photo-booth self-portrait." The size of a postage stamp, it provided the public its first real glimpse of Johnson when it was published, more than a dozen years after it was found, in Rolling Stone magazine in 1986, the year that Johnson was inducted into the Rock and Roll Hall of Fame. In the photo, Johnson, wearing a button-down shirt with thin suspenders and holding a guitar, stares at the lens with eyes that look both defiant and haunted. A cigarette dangles from his lips, and although the guitar is only partially visible, his long left-hand fingers can be seen forming an indeterminate chord on the guitar's neck.
If the photo-booth shot was a low-budget affair, the second image had production values. Taken by Hooks Bros., a photographic studio located in Memphis, it shows Johnson once again holding his guitar as he sits cross-legged on what appears to be a tapestry-covered stool. But this time, the bluesman is resplendent in a pin-striped suit, a striped tie, shiny dress shoes, and a narrow-brimmed fedora cocked over his right eye. He is smiling in the photo, but his eyes make him look like a deer caught in the headlights.
The Hooks Bros. photo was first widely seen in 1990, when it was featured on the cover of Robert Johnson: The Complete Recordings, the two-CD boxed set issued by Columbia Records that collected what, at the time, was Johnson's entire surviving canon. The set sold more than a million copies, establishing Johnson as the biggest-selling pre-war blues artist of all time.
Schein had bought the boxed set about a year after it came out and had spent numerous hours immersing himself in the music and studying Johnson's life story. The crossroads legend held little magic for him. After all, Schein dealt with professional musicians every day and knew plenty of talented guitarists and songwriters who toiled in obscurity or struggled for recognition, and even some who had died just as their careers were taking off. For Schein, Johnson's appeal wasn't any aura of mystery but rather his humanness. Born illegitimate, Johnson had lived a life freighted with alienation and misfortune. In 1930 he lost his first wife and their baby in childbirth, and yet, in the wake of this tragedy, Johnson managed to become a guitar virtuoso who still influences musicians today. He was "one guy with a guitar standing to [make] his peace," Schein says. As far as he was concerned, Johnson's story needed no embellishment.
With the eBay photo still on his computer monitor, Schein dug up his copy of the Johnson boxed set and took another look. Not only was he more confident than ever that he had found a photo of Robert Johnson, he had a hunch who the other man in the photo was, too: Johnny Shines, a respected Delta-blues artist in his own right, and one of the handful of musicians who, in the early 1930s and again in the months before Johnson's death, had traveled with him from town to town to look for gigs or stand on busy street corners and engage in a competitive practice known as "cuttin' heads," whereby one blues musician tries to draw away the crowd (and their money) gathered around another musician by standing on a nearby corner and outplaying him.
Steven "Zeke" Schein at Matt Umanov Guitars in New York City. Photograph by Gasper Tringale.
Shines had died in 1992. His picture was included in the boxed-set booklet, and Schein saw a resemblance; if both of his hunches were right, then the photo was even more of a find. At that point, Schein became possessed of two thoughts: One was "to hold the photo in my hands," he says. The other was "to protect it."
Because the image had just recently been listed, by a New York–based antiques dealer, bidding was still at a reasonable $25, but Schein guessed that the ending bid was going to be many times that initial figure. He had just sold a beautiful 1920s Stella acoustic guitar—a favorite among the old country-blues musicians—and when he added together the money he'd gotten for that and some extra cash on hand, he came up with a budget of $3,100. If someone spends more than that, he figured, the bidder will also know it's a photo of Robert Johnson, so it will be protected.
A co-worker of Schein's set up a computer "snipe" program that automatically bid on the picture up to the specified limit, and Schein held his breath. Approximately $2,200 later, he held the photo in his hands. What had he gotten for his money? An extremely fragile, three-inch-by-four-inch photo that bore no identifying marks that could be traced to a photographer's studio, no date stamp that could establish when the picture had been taken, no provenance whatsoever save for a note from the seller saying he'd purchased the photo in Atlanta. Schein was still convinced that he had found and purchased a photo of Robert Johnson and Johnny Shines. The question was, could he convince anyone else? And, if he could, would he then be able to navigate the complicated and treacherous legal minefield surrounding Johnson's lucrative and much disputed estate?
The Right to Play the Blues
The story of Robert Johnson is usually presented as a Faustian bargain, but it is really a tale of possession. Johnson was the product of an affair his mother, Julia Dodds, had with a plantation worker. Johnson had unusually long fingers and a bad left eye (that has been attributed to a cataract), and by the time he had recorded his canon, he had earned the right to sing and play the blues.
His youth was spent moving between homes in Memphis and Robinsonville, Mississippi, 30 miles south of Memphis, where he lived with his mother and her second husband on a plantation. There he was known for his interest in guitar and his reluctance to work the fields.
It was in the aftermath of his wife's and child's deaths—Johnson was approximately 19 at the time—that his musical education is believed to have begun in earnest. In 1930 the ferocious blues singer Son House had moved to Robinsonville to begin a fruitful musical partnership with the guitar ace Willie Brown, and Johnson became a regular presence at their performances, although the two elder bluesmen perceived him as a nuisance. House's recollection of Johnson—as told to folklorist Julius Lester in 1965—was of a "little boy" who would commandeer either his or Brown's guitar during their breaks and irritate the audience with his marginal skills. Perhaps Johnson sensed, too, that he was not ready for the stage, because around this time he moved back to the Hazlehurst area, his birthplace, where he began an apprenticeship with a blues guitarist named Ike Zimmerman (the spelling of his name is disputed) which would transform Johnson into the virtuoso he is known as today.
That Robert Johnson is remembered as a guitarist who could play almost any song after hearing it just once on the radio; a singer whose repertoire, like those of most itinerant bluesmen, included numbers made famous by Bing Crosby, Irish standards, and even polkas, in addition to his own songs; a performer whose travels took him as far north as New York City and even Canada in search of an audience; and an artist who could move an audience to tears and then disappear into the crowd as if he had never played at all.
Clearly, Johnson was a man of some ambition, and in November of 1936 he traveled to San Antonio, Texas, for the first of two recording sessions for the American Record Corporation. Once in the makeshift studio, he played facing a corner, with his back to the technicians and other musicians who had come to record, a move that has been variously interpreted as shyness, an attempt to prevent other guitarists from seeing his unusual playing style, or a street-savvy technique for getting the most sound out of his acoustic guitar. Whatever the case, Johnson recorded approximately 16 songs over three days, most of them in two or three takes. One of those tunes, "Terraplane Blues," a double-entendre-laden number, was issued as a 78-r.p.m. single on the Vocalion label and became a modest regional hit, selling approximately 5,000 copies. As a result, Johnson was invited back to Texas, this time, in June 1937, to Dallas, where he recorded another 13 tracks, but no more hits.
A little more than a year later, Johnson would be dead—and probably destined for obscurity had his music not already gotten the attention of a record producer who would exert a huge impact on popular music in the 20th century. By the time John H. Hammond Jr. came across Johnson's records, he had persuaded Benny Goodman to integrate his band, discovered a young Billie Holiday in Harlem, and recorded Count Basie, but he was just getting started. As a talent scout for Columbia Records in the 60s, 70s, and 80s, Hammond would discover Aretha Franklin and sign Pete Seeger, Bob Dylan, Leonard Cohen, Bruce Springsteen, and Stevie Ray Vaughan to the label.
Hammond's role in Johnson's legacy is pivotal. He first championed Johnson in print in 1937 when, writing under a pseudonym for the left-wing publication New Masses, he asserted that "Johnson makes Leadbelly look like an accomplished poseur." Then, in 1938, Hammond sought to feature Johnson in a concert he was producing at Carnegie Hall that December called "From Spirituals to Swing." He sent an emissary into the South to track down Johnson and bring him back to New York. But as the day of the show approached, Hammond learned that Johnson was dead—possibly murdered. On the night of the concert, Big Bill Broonzy took Johnson's place, but Hammond memorialized the late Delta artist by playing two recordings of his songs for the Carnegie Hall audience.
More than 20 years later, Hammond would expose Johnson's music to a whole new generation of listeners. Columbia now controlled Johnson's recordings, and in 1961, Hammond oversaw the release of King of the Delta Blues Singers, the first album-length collection of Johnson's music, which helped spark a blues revival in America. According to the album's producer, Frank Driggs, it sold approximately 10,000 copies upon its initial release—impressive for an obscure, dead, vernacular performer.
"The Music Almost Repelled Me"
Not long before the album became available to the public, Hammond had given a young Bob Dylan an early acetate copy of the LP. Near the end of his 2004 memoir, Chronicles: Volume One, Dylan recounts the rather intense effect King of the Delta Blues Singers had on him. If he hadn't heard the album at such an early, formative stage in his career, Dylan writes, "there probably would have been hundreds of lines of mine that would have been shut down—that I wouldn't have felt free or upraised enough to write."
King of the Delta Blues Singers had an arguably larger impact across the Atlantic in Britain, where a new generation of rock 'n' rollers were learning their chops and finding their influences. One of them was a shy, alienated teenager named Eric Clapton, who was given the Johnson album by one of his early bandmates. "At first the music almost repelled me, it was so intense and this man made no attempt to sugarcoat what he was trying to say, or play," Clapton writes in his recently published memoir, Clapton: The Autobiography.
The chance of this music's having such an immediate and visceral effect on an aspiring rock star today is, frankly, pretty slim. To ears accustomed to modern, computer-generated effects that can make almost anyone sound like a guitar god or a vocal powerhouse, Johnson's music can sound thin and primitive at first spin, even though it's remarkably complex and polished for its time. As Clapton explains in his autobiography, Johnson employed a fingerpicking style that had him "simultaneously playing a disjointed bass line on the low strings, rhythm on the middle strings, and lead on the treble strings while singing at the same time." Occasionally, Johnson worked in some bottle-slide playing, too, which involves placing a small glass bottle or sleeve over the left pinkie, then sliding it up and down the guitar's neck to create the pitch-bending wail that is a signature of the blues. Even accomplished guitarists can have a hard time re-creating Johnson's sound, let alone mastering it. Says Dave Rubin, an author for the music publisher Hal Leonard Corporation who led the team of musicians who transcribed Johnson's songs for the guitar instructional Robert Johnson: The New Transcriptions, "When you get to 'Crossroads' and 'Preachin' Blues'—oh my God, forget it. It sounds like three guys playing."
Johnson's guitar chops were just one part of the equation, however. For a blues singer, he was more of a crooner than a croaker, and his voice sometimes had a quaver that could sound haunted or seductive. There was also an urgency to Johnson's singing that made him sound "like he's about five minutes away from the electric chair," Driggs says. Lyrics such as "She got a mortgage on my body now, a lien on my soul," from "Traveling Riverside Blues," could also have a devastating poetic economy. In Chronicles, Dylan recounts writing Johnson's words down on scraps of paper to examine their structure and finding "big-ass truths wrapped in the hard shell of nonsensical abstraction—themes that flew through the air with the greatest of ease." (Dylan could have been talking about himself.) He doesn't put much stock in criticism that is often leveled at the blues artist: that Johnson's work is derivative. In Chronicles, Dylan plays King of the Delta Blues Singers for his friend Dave Van Ronk, the respected folksinger known as the Mayor of MacDougal Street, but Van Ronk mostly hears a musician mimicking his predecessors. "He didn't think Johnson was very original. I knew what he meant, but I thought just the opposite. I thought Johnson was as original as could be, didn't think him or his songs could be compared to anything."
What Dylan understands about Johnson is that, while his influences are easily divined, in all but a few cases, every guitar lick, vocal technique, or lyrical flourish that he borrows or steals he makes his own. For example, Rubin explains, while Johnnie Temple's "Lead Pencil Blues" was the first recorded example of the "cut boogie pattern"—the chugging, trainlike guitar line that's a staple of basic rock 'n' roll—it's Johnson's harder, more propulsive version, found, for example, on "Sweet Home Chicago," that other guitarists began to adopt, from Elmore James to Chuck Berry and beyond.
"To me, he was the synthesis of his generation," says blues guitarist and singer-songwriter John P. Hammond, whose father was the John Hammond who signed Dylan and oversaw the release of King of the Delta Blues Singers. Hammond fils discovered Robert Johnson independently of his father, in the late 1950s, when he heard one of the bluesman's songs on a Folkways album compilation. "He was my inspiration to want to play," Hammond says of Johnson. Hammond joined a number of artists in the 60s who were influenced by Johnson, covering his music on their albums or in their concerts, or both. The Rolling Stones reworked Johnson's "Love in Vain" for their now classic 1969 album Let It Bleed (although they credited the writer as "Woody Payne," presumably to avoid copyright problems), and that same year Led Zeppelin's second album included "The Lemon Song," a track that owed much to Howlin' Wolf but also took part of its lyrics—"You can squeeze my lemon 'til the juice run down my leg"—from Johnson's "Traveling Riverside Blues."
And then there was Clapton. Initially taken aback by the intensity of Johnson's work, he writes in his autobiography that, after letting the record get under his skin, "I realized that, on some level, I had found the master, and that following this man's example would be my life's work." In 1966, with John Mayall & the Bluesbreakers, he recorded Johnson's "Ramblin' on My Mind," and then, in 1968, with the band Cream, he worked up an electrified and modified take on Johnson's "Cross Road Blues" called "Crossroads" that became one of his signature hits. But only after recording his 2004 homage to the blues musician, Me and Mr. Johnson, and filming a companion DVD, Sessions for Robert J, was Clapton left with the sense that "my debt to Robert was paid."
As interest in Johnson's music was rekindled, curiosity about the man grew. When King of the Delta Blues Singers was released, in 1961, Johnson's life was almost a complete mystery, save for the lurid bit of information included in the album's liner notes that he had been murdered, "poisoned by a jealous woman." But as Columbia's Johnson release helped spark new interest in the blues artists of the 20s and 30s, field researchers and journalists began to comb the South in search of clues to the lives musicians led. Johnson "was the toughest case to crack," says blues researcher Gayle Dean Wardlow, author of Chasin' That Devil Music and the first person to track down an actual document pertaining to the blues musician: Johnson's death certificate, which Wardlow found in 1968. The record indicated that Johnson died at the age of 26 on August 16, 1938—the same month and day that would claim Elvis Presley in 1977—although it is believed today that Johnson was actually 27. The document lists no cause of death, but years later someone checked the back of Johnson's death certificate and discovered notes that suggest the owner of the plantation where Johnson died believed syphilis was the cause. It is one of the niggling details that fly in the face of what has become the generally accepted story of Johnson's death: that he was somehow slipped poisoned whiskey after a juke-joint owner who had hired Johnson to play at his establishment discovered that the blues musician was keeping time with the owner's wife. Some researchers suspect that Johnson may have survived the poisoning, only to succumb to pneumonia that attacked his weakened immune system.
But one aspect of Johnson's life remained stubbornly concealed. In 1971, Columbia released a second volume of King of the Delta Blues Singers, and its cover featured an artist's rendering of Johnson at his first recording session, playing his guitar while facing the corner of a room. As on the first album, the features of his face were barely discernible for good reason: no one yet knew what Johnson looked like. But that was about to change. And with it would begin a new and disputed chapter in Johnson's story.
In 1972 a Smithsonian field researcher named Robert "Mack" McCormick, who had been on the blues musician's trail for more than a decade, located Johnson's two half-sisters and came away with not only photos of Johnson and members of his family but, reportedly, first publication rights as well. McCormick, who had a reputation as an inspired researcher and an excellent writer, had gone as far as to travel to Mississippi on the Rolling Store, a bus that had been converted into a canteen for sharecroppers—and, in a 1976 Rolling Stone piece, he told writer Peter Guralnick that he had even tracked down and interviewed Johnson's killer.
McCormick intended to write about this and other revelations in a book about Johnson that he had tentatively titled Biography of a Phantom. Presumably, it was where the first published picture of Johnson would appear as well. But Guralnick's Rolling Stone piece reported on another man on Johnson's trail who had come up with his own trove of historical gold and would use it to steal McCormick's thunder and essentially take control of Robert Johnson's image and music. A year or so after McCormick had located Johnson's kin, a record collector and researcher named Steve LaVere, the son of the late jazz pianist and vocalist Charles LaVere, tracked down one of the half-sisters, Carrie Thompson, in Maryland, and hit the jackpot. (Thompson and Johnson were both the children of Julia Dodds but by different fathers.) Since McCormick had come and gone, Thompson had found two more photos of Johnson, the Hooks Bros. photo and the photo-booth self-portrait, and in 1974 she permitted LaVere to make copies of them. Under the assumption that she was Johnson's next of kin—the second half-sister had reportedly died by then, though Johnson's mother and other half-siblings were still alive—she also signed an agreement that transferred to LaVere "her right, title and interest, including all common law and statutory copyrights" to the two photographs, as well as a handwritten note Johnson had purportedly composed on his deathbed and, most important, all musical works and recordings of Robert Johnson.
The deal also gave LaVere first right of refusal for any subsequent Johnson-related photos or documents that might be found, and, more crucially, appointed him as Thompson's agent "for the purpose of collecting royalties in connection with any and all works of Robert L. Johnson" and authorized him "to use whatever means at his disposal to make such collections." In return, he would split any royalties generated 50-50 with Thompson.
Contract in hand, LaVere went to Columbia Records with an idea to produce an anthology of Robert Johnson's complete recordings. According to a 1991 piece by Robert Gordon in L.A. Weekly, Frank Driggs, the producer who had worked on both of the King of the Delta Blues Singers releases, was already planning just such a project for Columbia, but John Hammond père added Steve LaVere as a co-producer. In addition, Gordon reported, Hammond, a friend of Charles LaVere's, signed away the copyrights to Johnson's music, which Columbia Records may not have even owned. (If Johnson ever signed a contract with American Record Corporation, it has yet to be located, but chances are that, by the 70s, the copyrights to his recordings had expired and his music had entered the public domain.) Driggs told Gordon, "LaVere got a deal such as nobody I've ever heard of getting in the history of the business."
It appeared that all rights to the blues artist who had possessed the Hammonds, Clapton, Jagger, Richards, Plant, Page, and Dylan were now in the possession of Steve LaVere.
When Mack McCormick heard about LaVere's deal, he contacted Columbia and notified the label that his agreement with Johnson's half-sisters preceded LaVere's. Columbia put the anthology on hold for 15 years, during which time vinyl LPs gave way to plastic CDs. In 1990, Robert Johnson: The Complete Recordings was finally released. LaVere was listed as a producer, and the biographical essay published in the boxed set's accompanying booklet carried his byline. Mack McCormick was not involved at all. The Complete Recordings went gold, rekindling interest in Johnson yet again. It put a nice chunk of change in LaVere's pocket, and it also cemented his status as the gatekeeper to all things Robert Johnson. In that role he soon became known for litigious ways. He sued or threatened to sue bands and artists, and their representatives—including, successfully, ABKO Music, former record label of the Rolling Stones—who had covered Robert Johnson songs and, he alleged, not paid proper royalties. When the cartoonist Robert Crumb drew a vivid homage to Johnson, based on the photo-booth self-portrait, and then had it reproduced on T-shirts and, later, silkscreen prints, LaVere threatened legal action. Initially, Crumb says, "I wrote back a letter that said, 'Fuck you. It's my drawing and I'll do what I want with it.' " But faced with the prospect of an expensive legal battle, he eventually settled with LaVere. "If I ever want to use that drawing commercially again," Crumb says, "he gets part of the action."
In the late 90s, LaVere also sued McCormick—unsuccessfully—in an attempt to gain possession of the photographs that the Texas researcher had been given by Carrie Thompson. One of the images is of Johnson. It is believed to be another shot taken during the Hooks Bros. studio session, but has yet to be seen by the public. One of the few people who have seen it is Guralnick, who wrote about it in his 1989 book, Searching for Robert Johnson. In the photo, Johnson is joined by a man in a sailor's uniform—his nephew, who was in the navy (and, according to a comment attributed to Carrie Thompson, was the owner of the pin-striped suit Johnson is wearing). The whereabouts of this photo are currently unknown, and McCormick's Biography of a Phantom was never published. McCormick did not respond to my requests for an interview, but in a 2002 profile by Michael Hall in Texas Monthly, McCormick revealed that he suffers from crippling "manic-depressive illness," and that he had abandoned his Johnson book. "It ain't happening anymore," he told Hall. "I lost interest." But a source who has had contact with Mack McCormick in the last two years told me, "One of the reasons McCormick's Johnson book has never seen the light of day, I think, is that he seems scared of litigation from a notoriously litigious guy like Steve LaVere."
Dealing with the legacy of Robert Johnson had become a particularly brutal game of cuttin' heads, and Steve LaVere seemed to be the man holding the sharpest scythe.
Younger than His Years
When I first encounter Zeke Schein, almost two years have passed since he purchased the photo. I hear about him through a friend, a lawyer who has represented me in business dealings. Schein is also a client, and, one afternoon when he is on break, we meet outside Matt Umanov and head to an Italian espresso joint a few storefronts away. After telling me that his legal name is Steven, but that "no one" ever calls him that, Schein places an 8-by-10 blowup of the photo on the table in front of me. The first thing I notice is the repeating pattern of warning bars that have been superimposed horizontally across the image. One reads, this image is copyrighted. The other, unauthorized use is prohibited by law. The next is that the faces peering back at me beneath wide-brim hats appear remarkably young, but the figure holding the guitar does resemble Johnson, and his fingers are long. I remember a description of the blues artist as looking younger than his years.
Schein peers at me from beneath his own hat—a retro-looking stingy-brim that rides low on his head. Lanky, appropriately pale, and dressed in a black T-shirt and black jeans, with a strand of Tibetan sandalwood mala beads wrapped several times around his left wrist, he looks as though he could be a rock band's roadie or a member of Jack Kerouac's entourage. He recounts how he came to acquire the photo, then points at it and says, "What I can confirm is that the guitar itself—and I feel very comfortable saying this—is a Chicago-made guitar from the mid-30s."
I study the picture. The instrument is shrouded in darkness. It is possible to make out a fancy tailpiece down by the bridge and the dots on the fretboard, but the insignia on the headstock is blurred, and the arm of the man who's supposed to be Johnson is covering the sound hole. Plus, my gaze keeps being drawn to those long, long fingers.
"You can tell that?" I ask him.
"I've looked at thousands of these," he says, and explains that, actually, the guitar was probably a prop. There are no strings on it, and it is missing all but one of its tuning pegs. But, he tells me, it is probably a guitar made in the mid-1930s by the Chicago-based Harmony Company. "That guitar, with 12 frets to a body like that, with that specific tailpiece, it's screaming 1935 to me," he says. "I just can't find out more about it. It's driving me crazy. The decal on the headstock is slightly blurred." And then he adds with a laconic smile, "It fits in perfectly with the Robert Johnson enigma."
In the two years since he acquired the image, Schein explains, he has quietly been trying to research it and, if possible, find someone who can tell him definitively that he has a photo of Robert Johnson and Johnny Shines. "I don't want to put it out there and have people be disappointed that it's not real," he says.
So far, he has come up with one good lead. While scouring the Internet for anything he could find on Johnson, Schein ran across a Web site that the filmmaker Peter Meyer had set up in conjunction with his Johnson documentary, Can't You Hear the Wind Howl? On the site, Schein learned a bit of heartening trivia: according to an interview Johnny Shines gave before his death, a photo of him and Robert Johnson had been taken by a woman named Johnnie Mae Crowder in Hughes, Arkansas, in 1937 and later published in a local newspaper.
Schein tells me that after acquiring the photo he began showing it to a small number of trusted friends and clients, seeking their opinion—John Hammond is "sure" the photo depicts Johnson—and advice on how to go about getting the image authenticated.
Schein also showed the image to a collector of blues records and memorabilia named John Tefteller, who has scored a number of significant finds in recent years. In 2005, Tefteller, who's based in Grants Pass, Oregon, had purchased a large cache of original advertising materials produced for the long-defunct jazz-and-blues label Paramount Records, and it had yielded the first full body shot of Charley Patton, who is considered the father of the Delta blues. Tefteller says he saw Schein's photo for only a few minutes, "at a diner" during a stopover in New York, but what he saw was enough to persuade him to make a trip down to Hughes, Arkansas, in search of Johnnie Mae Crowder, the woman who Shines said had taken the photo of him and Johnson. Tefteller found a 1918 birth certificate for someone with that name, but he also found a death record. Johnnie Mae Crowder had died in 1940, not long after Robert Johnson, and, Tefteller says, though he looked he could find no evidence that Crowder had left behind any family. He had hit a dead end.
Schein wasn't having any better luck. In May 2006, he learned that two veteran Delta bluesmen, David "Honeyboy" Edwards and Robert Lockwood Jr., were playing at B. B. King's Blues Club in Times Square. For a guy trying to establish the bona fides of a Robert Johnson picture, the show was a real opportunity. In his memoir, The World Don't Owe Me Nothing, Edwards writes about witnessing a clearly ill Johnson trying to play at what would be his last show, and later, seeing him suffer greatly from what he asserts were the effects of poisoned whiskey. Lockwood, meanwhile, had learned how to play guitar from Johnson during the years that the itinerant artist lived on and off with Lockwood and his mother in Helena, Arkansas. But when Edwards's manager allowed Schein to show his picture to the musicians—on the condition that he not prompt them with Johnson's and Shine's names—neither identified the men in the photo. Still, Schein wasn't ready to give up. The bluesmen hadn't said it wasn't Johnson, and there was another man who might be able to help.
About four months after our first meeting, Schein agrees to let me take a copy of the picture to Mississippi to see if I can make any progress in determining whether it's authentic or fake. I fly to Memphis and drive to Crystal Springs, Mississippi, the town a man named Claud Johnson calls home.
In 1989, a protracted and, at times, strange legal battle to determine Robert Johnson's heir had begun in Mississippi. The proceeding was set into motion by two heirs of the bluesman's half-sister Carrie Thompson. In 1980, she had attempted to rescind the 1974 agreement she had signed permitting Steve LaVere to make copies of the Hooks Bros. and photo-booth portraits and to profit from them. She died in 1983, but her will transferred any rights she still had to those pictures—and any money she was due from them—to her heirs, who turned to the Mississippi judicial system in hopes of gaining control of the estate and eventually recovering the Johnson photos. But after a nine-year legal scrum during which at least two other potential Johnson heirs joined the fray, and the case bounced between the Mississippi Chancery Court, the Mississippi Supreme Court, and the U.S. Supreme Court (which twice refused to hear the case), the Chancery Court ruled on October 15, 1998, that a truckdriver named Claud Johnson, who, according to his lawyer, had long heard that the blues legend was his father, was "the biological son and sole heir" of Robert Johnson; he was thus entitled to an initial inheritance of more than $1.3 million with future revenues. The court's decision, which is irreversible because it was appealed and reaffirmed, was based not on DNA evidence but on an unusual bit of sworn testimony by the elderly Eula Mae Williams, a childhood friend of Claud Johnson's mother, Virgie Jane Smith Cain. In what sounds more like a scene from Boston Legal than an actual court case, Williams testified that she had watched Cain and Robert Johnson having sex in a wooded area in the spring of 1931, which, nine months later, led to the birth of Claud.
In June 2000, a few days after the Mississippi Supreme Court had reaffirmed the Chancery Court's decision, Claud gave an interview to The New York Times in which he talked about glimpsing Robert Johnson from the doorway of his grandparents' house one day in 1937 when the blues artist showed up to visit his mother and the child he had purportedly sired. But a father-and-son reunion did not take place—Claud's grandparents would not allow it. "They said he was working for the devil, and they wouldn't even let me go out and touch him," Claud told the Times. "I stood in the door, and he stood on the ground, and that is as close as I ever got to him.… I never saw him again."
I was aware that the court's ruling hadn't exactly quelled skepticism in the blues world about Claud's legitimacy, and that if Claud had indeed seen Robert Johnson at least 69 years had passed since then, but I thought that if I could get Claud to see the photo without involving his lawyers, though it might not lead to any definitive answers, it could lead somewhere interesting.
Schein, too, was curious to know what Johnson's legal heir would make of the photo, and, after consulting with his attorney, he gave me permission to show Claud the photo, even though it carried a potential risk. According to copyright law, because Robert Johnson is no longer alive, his estate controls the right to use his image in a commercial context, which meant that although Schein owned the photograph outright he would have to seek the estate's permission if he wanted to use the photo in such a manner. Schein had no intention of angering the estate, but there was a chance that, when I showed up on Claud Johnson's doorstep, he would be more litigious than curious and initiate a legal tug-of-war for the photo.
Just such a skirmish is being waged over the two well-known Johnson photos that LaVere found in the 70s via a pending suit that Carrie Thompson's heirs have filed in Mississippi Circuit Court against LaVere and Claud Johnson. In the meantime, there are indications that LaVere continues to make money off of Robert Johnson: legal documents indicate that, although LaVere's deal as exclusive agent has been terminated, he is still splitting royalties with the Johnson estate on at least a couple of licensing deals. He's quick to label his controversial status in the Johnson world "just so much hogwash" when I contact him. "People aren't supposed to make money in the music business?" he asks. "Or is it just the blues that they're not supposed to make money on?"
When I arrive at the 49-acre property where Claud Johnson lives (and where he keeps his gravel truck parked on his lawn), he isn't home, and his son Michael, who lives next door, has to get on the phone and persuade him to come back so that I can show him the photo. He arrives sheathed in sunglasses and a straw cowboy hat, looking more like Muddy Waters than Robert Johnson. He is stockier and wider-faced than I would expect the son of lithe Robert Johnson to be, but then again, Robert Johnson never drove a gravel truck, and my mental image of him comes from a couple of photos taken long before the thickening of middle age had a chance to encroach. Though Claud is clearly uncomfortable when he shakes my hand, his grip is strong, and the gray in his sideburns and mustache is the only sign that he is a man in his 70s.
I pull the photo out of the envelope I've been carrying and hand it to Claud. "Well, no doubt about it," he says after studying it for a few long seconds. "This look like before he was grown."
Claud hands the photo back to me and walks away. When I attempt to get him to elaborate upon what he has just said, he explains that he has signed an agreement with HBO (for what I will later learn is a movie that the cable network is developing about Robert and Claud Johnson, which is being written by James L. White, the screenwriter of Ray). "If you cross a company like that, you could get yourself in a problem. And I really don't need to get in a problem with HBO," Johnson tells me, adding that as a result he can't give me any further "insight" into the picture. "It may be a picture of him, but I really, I can't really—I'm afraid, you know?" he says, sounding genuinely anguished. "Because, man, I'll tell you—they're still after me any way they can get at me, right now."
I realize that Johnson is talking about the court battle that determined he was Robert Johnson's heir, and perhaps the current legal skirmish being waged over Carrie Thompson's photos. On the way back to my car, Michael Johnson apologizes for not being more helpful. He is wearing a T-shirt advertising the Robert Johnson Blues Foundation, an organization dedicated to preserving the music and the memory of the artist, which is run by another of Claud's sons, Steve Johnson.
"My dad just got shell-shocked by that case," Michael tells me. "They put him through a lot of stuff. To actually prove who you is"—he switches to the second person, though he is clearly talking about his dad—"they ask you a thousand questions. Hell, they tried to scrutinize him like he wasn't nothing, you know, man?"
"The Face Doesn't Lie"
In late summer 2007, Schein's attorney, John Pelosi, submitted the photograph to John Kitchens, the lawyer for the Johnson estate, to see if there was any way of authenticating it. Kitchens's father, Jim Kitchens, had been the lead attorney in Claud Johnson's fight to be named heir of the Johnson estate, but he had since turned the day-to-day handling of the estate over to his son, who turned 30 this year and was all of 12 when the Johnson boxed set was released. Not surprisingly, when John Kitchens saw a copy of the photo, he wasn't exactly floored. "I didn't know who it was," he says. But Kitchens remembered reading about a forensic artist who, that August, had reportedly determined the identity of the sailor kissing the nurse in Alfred Eisenstaedt's famous *Life-*magazine photo of Times Square on the day World War II ended. The artist's name is Lois Gibson and she works for the Houston Police Department. She is also a graduate of the F.B.I. Academy Forensic Artist Course and was deemed "The World's Most Successful Forensic Artist" in The 2005 Guinness Book of World Records because, at the time, her sketches and facial reconstructions had helped net more than 1,062 criminals.
Kitchens sent Gibson a copy of Schein's photo, along with reproductions of the Hooks Bros. portrait and the photo-booth shot. Gibson compared the facial features in each of the three photos and reported back with a pretty startling conclusion: "My only problem with this determination is the lack of certainty about the date of the questioned photo," she wrote in her report to Kitchens. But, she continued, if Schein's photo "was taken about the same time as, or a little earlier than," the photo-booth self-portrait, "it appears the individual in [Schein's photo] is Robert Johnson. All the features are consistent if not identical."
"If the time frame is right, it's him," Gibson tells me when I call her up in Houston. "The face doesn't lie." She also points out that if Schein's photo does depict Johnson, he's probably younger—possibly two to four years younger—than he appears in the photo-booth self-portrait (which would mean that Schein's photo had been taken years before the picture Johnny Shines remembered from 1937).
Kitchens is cautiously optimistic about Gibson's assessment. "Based on the findings, we're going to get behind it," he says. "It is impossible to say with 100 percent certainty that this is Robert Johnson," he adds, pointing out that the few living souls who knew Johnson when he was alive haven't seen him in 69 years. "But we strongly believe that it is."
When I meet Schein at a Greenwich Village restaurant to discuss Gibson's findings, I expect him to be ecstatic. But, actually, he seems slightly conflicted, and I soon realize why. Schein has enjoyed his long strange trip through Robert Johnson's past and isn't ready to let go. Although he tells me he thinks Gibson "did a wonderful job" with her analysis, he says he doesn't agree with her findings that his photo depicts a Johnson who is younger than the man in the photo-booth shot. "I've been delving deep," Schein tells me, and though he still hasn't been able to crack the make and model of the guitar in his photo, he has come up with a theory about the chronology of the three pictures: They were, he says, all taken within a year of one another. The Hooks Bros. photo was taken first, the self-portrait second, and his photo third, which would make it the latest photo of Johnson, instead of the earliest. His reasoning for this, he explains, is that his photo comes after Johnson has recorded his 29 songs and come away with several hundred dollars, probably the most money he'd ever made. As a result, he doesn't need to borrow a suit from his nephew, as he did in the Hooks Bros. photo. He can afford his own duds and more. "You got the money from the record deal. People recognize you. You got your own suit," Schein says. "You're traveling around. You're drinking better whiskey. You're eating better food. Guess what? You're going to look a little better."
It is just a theory from a man who plays guitar and works with musicians, a man who respects Robert Johnson, who knows his music, and, after studying his life, feels like he knows Johnson a bit, too—a man who wants to believe that Robert Johnson was singing the blues, but that he wasn't always living them.
Frank DiGiacomo is a Vanity Fair contributing editor.


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Background and downloads Background and downloads
12/06/2003, Towards integrated Networking and Grids infrastructures for eScience and beyond.
Press release 12/06/2003
|1st eInfrastructures event, Towards integrated Networking and Grids infrastructures for eScience and beyond
|Development of the European initiative for eInfrastructures during the Greek Presidency: A significant European initiative on eInfrastructures has been put forward during the Greek presidency, regarding the shaping of attitudes and the establishment of the necessary administrative support for the development of electronic infrastructures (eInfrastructures) and electronic science (eScience) in the European Research Area.
Workshop information
(MS Word - Size: 4839424)
(MS Word - Size: 1120256)
|Workshop Report
Description: The EU eInfrastructures initiative - Towards integrated Networking and Grids infrastructures for eScience and beyond, 12 June 2003, Athens
(pdf size: 463078)
30/10/2003, 1st Event Book
(Size: 1912724)
(Size: 3992271)
Background Material
|A GGF primer for people who already groc grids...
(Size: 188459)
|Harnessing the Powerf the Globus Toolkit
Size: 267721
|Introduction to Condor-G
Size: 60333
|Introduction to Globus Toolkit
Size: 543543
|Introduction to Grid Computing
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|The Anatomy of Grid
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Research Infrastructures
SP2 - Annex 2 - Infrastructures - EN_RIC.doc
The EU eInfrastructures Initiative
|This service has been launched after the request raised by the 1st eInfrastructures event organised under the aegis of the Greek Presidency of the European Union, in Athens, Greece on June 6th, 2003.
|This service intends to function as a portal for the eInfrastructures initiative in Europe, after the broad acceptance of the initiative, as had been demonstrated by the related events so far.


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I'm very bad. I get midnight cravings for bread upma – a spiced, stir fried bread dish. Its very easy to make and there is always bread lying around that needs to be used up. So I can tip toe into the kitchen at midnight and quickly whip up this snack without waking up the husband (because I dont want to share my bread upma!).
Use white or brown bread. And if its slightly stale, thats fine too. This recipe is a great way to use up left over bread. If you find the upma is too dry (older breads will be drier), just sprinkle some water and toss to soften it.
serves about 4 as a snack
10 slices of bread, white or brown
4 tablespoons oil
1/4 teaspoon black mustard seeds
1/2 cup minced onion (1 small onion)
1/2 teaspoon minced ginger, optional
1 green chili, minced
1/2 teaspoon turmeric powder
1/2 teaspoon, or according to taste red chili powder
1 tomato deseeded and chopped
1 teaspoon lime juice
2 tablespoons chopped cilantro for garnish
1. Cut off the crust of the bread. Discard the crust or save for making bread crumbs. This is optional, you can leave the crust on if you like. Cut the bread into cubes.
2. Heat oil in a large wok. Add the mustard seeds. When they pop, add the onion, ginger and green chili. Saute on medium heat till the onion is translucent.
3. Then add the turmeric and red chili powders. Stir for a few seconds.
4. Add in the bread cubes, tomato, lime juice and salt.
5. Stir gently till everything is evenly combined and the bread has absorbed all the spices and turned yellow. About 4 minutes,
6. Garnish with chopped cilantro.
Tagged as: bread, easy, indianPrint


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Farmingdale State - 2, Sage - 0
Albany, N.Y. - The Farmingdale State men's soccer team shutout Sage, 2-0, as they picked up a conference win on the road this afternoon. The Rams improved to 8-8-1 overall, 6-3 in Skyline play, while the Gators fell to 12-3-1, 6-2-1 in the conference.
Farmingdale State took a 1-0 lead in the 26th minute as junior defender Matt Kirby (West Islip, N.Y.) scored on a feed from the corner by junior defender Dennis Sfoglia (Massapequa, N.Y.). The Rams were outshot 5-3 in the first half but took a 1-0 lead into the break.
In the second half, Farmingdale State increased their advantage to 2-0 as freshman midfielder Victor Romero (Bay Shore, N.Y.) scored the final goal of the game after being setup by junior forward John Popovic's (Baldwin, N.Y.) pass.
Junior goalkeeper Angelo Viteritti (East Northport, N.Y.) made six saves and recorded his eighth shutout of the season.
The Rams next will close out the regular season as they travel to William Paterson for a non-conference match on Monday, October 22nd at 7:00 p.m.