Just keep reading to get to the important parts. Remember: My earliest knowledge of Steve was a bit of misinformation; someone in the dance community had told me that Delilah's husband was an ex-cop. When I finally met him in person, I was a bit puzzled. (“He sure must have changed a lot since being a policeman...”)

As a board member of the Seattle Tashkent Sister City Committee, I participated in the selection of a group of artists to represent Seattle in an important exchange delegation. I campaigned for sending Jr, Cadillac to Uzbekistan because their classic rock n' roll sound was so authentically American. My instincts told me they would be hugely successful. That I was instrumental in making this trip possible is wonderfully satisfying: Jr. Cadillac took Tashkent by storm.

When I returned from living for two years in Uzbekistan, Steve was the person waiting for me outside of customs at the airport. “There is a young man waiting for you,: I had been told by an airport representative. And I guess he did look like a kid, with his hair in a long ponytail and plenty of energy to carry my considerable pile of luggage.

Steve and Delilah let me stay with them as I made the difficult reentry into American life. I recall staring at the latest issue of the Victoria's Secret catalogue, overwhelmed by the luxury. Steve looked over my shoulder and commented on the “cute” names that has been to the lingerie. “Women used to burn their bras,” he quipped. “Now they give them names like Priscilla and Ashley.”

But Steve's most profound impact on my life has been through his music. Some of my truly transcendent choreographies — pieces like “Cry of the Heart” and “Amazonka” — were inspired by his work. Perhaps it is because his melodies are tremendously lyrical and poignant. Even when they are melancholy, they contain a hint of hope, a promise that there is some element of nobility and beauty even in sadness. When I listen to his compositions, the dance create themselves, flowing through me as though I am only the conduit for their physical expression.

When the Silk Road Dance Company was hired by Warner Bros to perform for a special corporate even, I called Seattle from the back lot in Los Angeles. I just wanted Steve to know that he was here with us as we performed “Amazonka” and “Egypta.”

(OK, Delilah, I am sending pictures of the choreographies inspired by Steve's music as attachments for you to open. By the way, I used the music, “When the rain comes” for our Pyramid piece in Egypta and it really worked.”

Laurel