Don't Cry For Me

Do not stand at my grave and weep;
I am not here, I do not sleep.
I am a thousand winds that blow;
I am the diamond glints on snow.
I am the sunlight on ripened grain;
I am the gentle autumn's rain.

When you awaken in the morning's hush,
I am the swift uplifting rush
of quiet birds in circled flight.

I am the soft star that shines at night.
Do not stand at my grave and cry,
I am not here, I did not die.

My Good friend with whom I spent many precious hours with is gone but will never be forgotten. Thank you Timi for sharing your life with me. Until we meet again on the big stage in the heavens know that you are loved.

In Memoriam: Timi Yuro

LAS VEGAS, Nevada (AP) -- Timi Yuro, a pop singer who scored her first hit in 1961 with "Hurt," followed by "What's A Matter Baby" and "I Apologize," died March 30,

her manager said Tuesday. She was 63.

Born Rosemary Timotea Aurro Yuro in Chicago, she moved to Los Angeles as a child and later began her singing career at her family's Italian restaurant.

Yuro had several hits throughout the 1960s and 1970s, beginning with "Hurt." Others included "The Love Of A Boy," "Make The World Go Away" and "Gotta Travel On."

Yuro developed throat problems in 1980 which led to the discovery of lung cancer in the early 1990s. She had surgery to remove her larynx in 2002.

Sensational 60's pop singer Timi Yuro passed away at age 62 at her home in Las Vegas at 4:00 p.m. Pacific Time, on Tuesday, March 30, 2004. Robert, her husband, and Isabelle, her roommate and close friend, were with her, along with two hospice nurses. She slipped away very peacefully in her sleep. Private arrangements have been made for her ashes to be spread on her mother and father's graves in Cicero, Illinois.

Cards and condolences can be sent to her family at this address: Timi Yuro Family, c/o SOUND 2000, PO Box 54802, Tulsa, OK 74155. They will be forwarded immediately to Timi's family.

Timi's top ten recording of Hurt -- made when she was eighteen years old -- remains as one of the best vocal performances of 60's pop music.

Another good friend has Crossed Over to the Shadow Land 

I Will Miss you My Friend & Brother.

Ray Charles, the piano man with the bluesy baritone who reshaped American music for a half-century, bringing the essence of soul to country, jazz, rock, standards and every other style of music he touched, died Thursday at his home in Beverly Hills, California. He was 73.

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Charles underwent successful hip replacement surgery last year and had been scheduled to start a concert tour this month, but he developed other ailments and died of complications of liver disease, said his publicist, Jerry Digney.

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Charles brought his influence to bear as a performer, songwriter, bandleader and producer. He was a remarkable pianist, at home with splashy barrelhouse playing and precisely understated swing. But his playing was overshadowed by his voice, a forthright baritone steeped in the blues, strong and impure and gloriously unpredictable.

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He could belt like a blues shouter and croon like a pop singer, and he used the flaws and breaks in his voice to illuminate emotional paradoxes.

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Leaping into falsetto, stretching a word and then breaking it off with a laugh or a sob, slipping into an intimate whisper and then letting loose a whoop, Charles could sound suave or raw, brash or hesitant, joyful or desolate, insouciant or tearful, earthy or devout. He projected the primal exuberance of a field holler and the sophistication of a bebopper; he could conjure exaltation, sorrow and de-termination within a single phrase.

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In the 1950s Charles became an architect of soul music by bringing the fervor and dynamics of black gospel to secular subjects. But he soon broke through any categories. By singing any song he prized - "Hallelujah, I Love Her So," "I Can't Stop Lovin' You," "Georgia on My Mind, " "America the Beautiful" - Charles claimed all of American music as his birthright. He made more than 60 albums, and his influence echoes through generations of rock and soul singers.

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Joe Levy, the music editor of Rolling Stone, said, "The hit records he made for Atlantic in the mid-'50s mapped out everything that would happen to rock 'n' roll and soul music in the years that followed. Ray Charles is the guy who combined the sacred and the secular; he combined gospel music and the blues.

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"He's called a genius because no one could confine him to one genre. He wasn't just rhythm and blues. He was jazz as well. In the early '60s he turned himself into a country performer. Except for B.B. King, there's no other figure who's been as important or has endured so long."

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In an interview with The New York Times earlier this year, after being sidelined by surgery for months, Charles said, "Yes, I'm going to keep touring, keep performing, it's in my blood. I'm like Count Basie or Duke Ellington. Until the good Lord calls my number, that's what I'm going to do."

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Charles influenced singers as varied as Elvis Presley, Aretha Franklin, Stevie Wonder, Van Morrison and Billy Joel. But he started out being influenced by a very different singer, Nat King Cole.

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"When I started out I tried to imitate Nat Cole because I loved him so much," Charles said. "But then I woke up one morning and I said, 'People tell me all the time that I sound like Nat Cole, but wait a minute, they don't even know my name.' As scared as I was - because I got jobs sounding like Nat Cole - I just said, 'Well, I've got to change because nobody knows who I am.' And my Mom taught me one thing, 'Be yourself, boy.' And that's the premise I went on."

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When Charles was 5 he began losing his sight from an unknown ailment and he became completely blind by the time he was 7. But he began to learn piano, at first from a local boogie-woogie pianist, Wylie Pitman. He also soaked up gospel music at the Shiloh Baptist Church and rural blues from- musicians including Tampa Red.

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