Produced by Eric Levine
Engineering: Laura Wernick
Editing: Marcia Bernstein & Sally Campbell
Liner Notes: Eric Levine
Album Cover Design: Barbara Aliprantis
© 1994 Disabled In Action of Greater New York
Mary Ann Marra
Eric Levine, Maura Gregory, Nancy de Luca and Sidney Emerman
Liner Notes and Song Lyrics
Disabled in Action (DIA) is the name of a civil rights group dedicated to improving the legal, social and economic condition of people with disabilities so that they may achieve complete integration into society.
A non-profit, tax-exempt organization, DIA began in the early 1970’s as one of many new and different liberation movements. Black and Native American people were fighting for more freedom; so were poor people, Third World People of all nationalities, Women, Gays, and Lesbians.
This was the beginning of a militant disability rights movement. Up to this time, it had been unheard of, and some thought it frankly ridiculous. But those who had been locked out by both physical and attitudinal barriers would take it no longer. For instance, one of their first acts was to picket the Jerry Lewis telethon where year after year his program sensationalized the situation of disabled people by perpetuating a freak show image of people with muscular dystrophy.
At DIA Christmas parties in the late 1970’s, Sam Anderson, Sid Emerman, Michael Imperiale, Karen Luxton and others were playing music together and thought it would be a great idea to share their music not only to encourage people within the disabled community but also to inform those outside it. And so The Disabled in Action Singers was formed. Soon this singing group became a prime tool to spread the message of disabled liberation as well as to raise needed funds.
They sang in schools and hospitals, at rallies and parties and then began doing concerts, including performing at the Great Hudson River Revival (Clearwater Festival) and later joining Pete Seeger’s Coalition of Choruses.
Over the years, The DIA Singers have continued to do what they do best: collecting, writing and singing songs. Like other singing groups with a message, they sing songs of peace, songs of love, songs of empowerment and liberation. What makes The DIA Singers special is that they sing from the point of view of people living with disabilities who have experienced the attitudes which label them as “other”.
Whether disabled or temporarily able-bodied, they fervently believe and joyfully sing:
The world's for all people; we all must belong
Harmony's great if we sing the same song
And no one's left out anymore
Back Row: Sis Cunningham, Maura Gregory, Mel Tanzman, Marcia Bernstein, Michael Imperiale, Sam Anderson, Sidney Emerman
Front Row: Eric Levine, Bobby Levine, Marilyn Saviola, Mary Ann Marra, Frieda Zames, Anne Emerman
Not in Picture: Sally Campbell, Nancy DeLuca, Laura Wernick
c p 1994 Disabled in Action of Greater New York
Produced by Eric Levine
Engineering by Laura Wernick
Cover Design by Barbara Aliprantis
Liner Notes by Eric Levine
Editing by Marcia Bernstein and Sally Campbell
The DIA Singers chorus of voices includes 14 people and is heard throughout the tape:
MARY ANN MARRA
Instrumentals by ERIC LEVINE, MAURA GREGORY, NANCY DeLUCA and SIDNEY EMERMAN
Sam Anderson – One of the original DIA Singers, Sam has an earthy and very communicative bass/baritone voice. His presence tends to “stop the show.” Sam has been a longtime advocate for disability rights, working with DIA and city and state government. He has a PhD in psychology and does medical research at Columbia Presbyterian Hospital.
Marcia Bernstein – A new member of the group, Marcia brings a life of choral experience to The DIA Singers. Her expressive soprano voice is evident only some of the time. Her 3-octave range allows additional harmonies to enrich the vocal arrangements. Marcia teaches deaf kindergarten children in the Bronx.
Sally Campbell – A recent addition, Sally brings her energy, her voice and her love of life to The DIA Singers. She’s a Quaker who writes songs, helps run a folk music cafe, The Peoples’ Voice Cafe in Greenwich Village, and is working on creating housing for homeless people with AIDS. She’s also the children’s librarian at the newly accessible Library for the Blind in NYC.
Sis Cunningham – When Sis, now in her 80’s, was asked if she’d like to join The DIA Singers, it was a longshot. She’d sung with the Red Dust Players and The Almanac Singers (including Woody Guthrie, Pete Seeger, Lee Hays and Leadbelly). She also founded Broadside Magazine which helped to launch the careers of Dylan, Tom Paxton, etc. Happily, Sis did not hesitate a moment; she joined right up. She’s an activist at heart, and with the passing years she has acquired some disabilities. What a great way to bring about social change!
Nancy DeLuca – A former DIA singer, Nancy is a science teacher in Boston and a gay activist as well as a warm humanist. When Nancy heard we were making a tape, she flew down from Boston to add that delicious harmonica and mandolin she’s famous for.
Anne Emerman – The director of the Mayor’s Office for People with Disabilities under Mayor David Dinkins, Anne has been an activist in the disability movement for years. She promotes using song as an organizing and coalition-building tool. She believes this is one of the best ways to communicate the disability community’s message of integration, equal access and opportunity for everyone.
Sidney Emerman – The other side of the Emerman Dynamic Duo, Sidney is an accomplished musician and folk music enthusiast. When he’s not singing in his mellow bass voice, his recorder playing punctuates many of the tracks on this tape. What the audience doesn’t see is the precision that he brings to rehearsals and to planning details of accessibility, his gentle sense of humor and his straightforward honesty. Sidney is a chemistry professor at Kingsborough Community College.
Maura Gregory – Maura plays her jumbo-sized steel-string guitar with a driving, steady rhythm. Her input is invaluable on questions of arranging songs, as is her general take on all group matters both musical and other. Maura is an attorney who is committed to practicing public interest law. She lives with her husband Mel Tanzman (also in The DIA singers) and their new son Andres, who at the inception of this tape is just beginning to walk.
Michael Imperiale – Michael used to sing semi-professionally. He knows folk songs, Italian Songs, Jewish Songs and old pop songs and sings them all with a romantically expressive booming basso voice. Michael is a disability activist, and he has participated in civil disobedience a number of times for the cause. Going with his spouse, Frieda Zames, from meeting to meeting, you can always count on Michael to carry chairs, bring loads of food, serve everybody coffee and tea, and provide hugs, kisses and/or handshakes to all who come in the door. Michael makes everybody feel at home.
Bobby Levine – Bobby is a longtime disability activist with a broad knowledge of music, folk music being an old favorite. Bobby was a city planner in California for many years and has come now to New York, where he works on disability issues and lives with his new wife Toby.
Eric Levine – Eric, with his 12-string, his banjo, his occasional vocal solo, is also the musical director of The DIA Singers. He is a working musician in New York City who does 10 to 20 large and small concert programs a year on his own, does music with children and plays backup guitar with Irish, Scottish and Jewish musicians. Eric works with the intercultural coffee house movement and often sings with Matt Jones. He also teaches music and is a longtime peace activist with the War Resisters League.
Mary Anne Marra – We are very lucky to have Mary Ann, a new soprano, who sang semi-professionally at one time. She has a deliciously clear and expressive voice which keeps us listening to what she’s singing or talking about. Her enthusiasm shines through and illuminates our music. Mary Ann is a social worker in Brooklyn.
Marilyn Saviola – Marilyn is a longtime DIA singer and is the director of the Center for Independence of The Disabled in New York (CIDNY). Marilyn is one of the top disabled activists in New York and is extremely knowledgeable about disability issues. Her input is always invaluable both in terms of song selection and in terms of how and where we present The DIA Singers.
Mel Tanzman – With his unique voice, Mel exudes a rare warmth and presence. Always adding a high spirit to things, Mel likes to wrap up a song, singing the culminating final verse. He sang with The Four Parts of the Movement Chorus for many years before he and his wife Maura Gregory joined the DIA Singers. Mel is a social worker at Eastern Paralyzed Veterans Association (EPVA) and is highly knowledgeable about disability and rehabilitation. And don’t forget his new son, Andres!
Laura Wemick – Laura doubles as both our technical expert for recording and amplification and as one of our singers. Laura is active in the peace movement in Israel and is often back and forth for months at a time. She has worked for Tikkun Magazine and has done professional audio work for theaters and elsewhere.
Frieda Zames – Formerly president of Disabled in Action, Frieda is a tireless activist who has spent years fighting for the rights of disabled people from legislation to civil disobedience. Frieda is a spirit in the chorus, a source of ideas, knowledge and moral support. She is a mathematician and just recently retired from teaching math at the N.J. Institute of Technology. She lives with Michael Imperiale in New York, where they both make the world better for people with disabilities.
- Two Good Legs 3.42
- Walking On My Wheels 3.21
- Jim Dickson 3.44
- MTA Song 2.34
- Streets of New York City 4.45
- Thanksgiving Eve 3.02
- Loves Gonna’ Carry Us 3.15
- Pass The Laws 4.48
- National Health Insurance Blues 3.49
- Housecalls 4.51
- He May Be Slow 4.08
- River 4.13
- The DIA Song 1.54
1. Two Good Legs – Words & Music By Patricia Shih, Fragile Glass Music Publishing (BMI) (Used with permission)
Vocals: Sam Anderson, Sid Emerman, Anne Emerman, Marcia Bernstein, Michael Imperiale, Mel Tanzman
Banjo: Eric Levine
Guitar: Maura Gregory
An important song for us because unlike earlier songs that often had a “please accept us” tone, this is a more militant, yet still absolutely humanistic, song, and it puts disability in a more positive light.
Oh I may not be able to walk like others do But I get around, nothing keeps me down, I've a different point of view Now there are those who trample others, In pursuit of that head start What good is having two good legs if you're crippled in the heart? REFRAIN: Oh crippled in the heart Yes, crippled in the heart What good is having two good legs if you're crippled in the heart? 2x I can not hear you talking, my hands replace my voice But I don't feel sad 'cause it ain't so bad, I'm not disturbed by noise. Now there are those who never listen to what others have to say What good is having two good ears If they're gonna' be deaf that way? REFRAIN I've never seen a sunset, so "red" is just a word But I don't cry 'cause the visions I have dreamed are never blurred Now there are those who look right through you And refuse to see the light What good is having two good eyes if the mind has no insight? REFRAIN I am a little slower In action, thought, and word A world that can't wait spins at seventy-eight I'm at thirty-three and a third But there are those who swiftly run by And those who swiftly judge What good is being speedy if the spirit doesn't budge? REFRAIN Oh yes, I am disabled, but I'm able to say this: "When you see me come, see a whole human Not the parts that I might miss And I won't hide all my shortcomings If yours you'll also wear For humanity, not ability, is the handicap we share." REFRAIN
2. Walking On My Wheels – Words & Music by Mark Cohen, M.D.
(Used with permission)
Vocal: Mary Anne Marra
Guitars: Maura Gregory & Eric Levine
A truly delightful song from the point of view of a happy 9-year-old girl who loves herself, her life and her wheelchair. The songwriter is a pediatrician in California.
My name is Annie and I'm nine Take a look at this amazing chair of mine It's silver and shiny and the wheels go round Just a little push and I really cover ground! CHORUS: Walkin' on my wheels, I'm walkin' on my wheels People let me tell you just how good it feels I can go anywhere if I've got my chair Watch me now I'm walkin' on my wheels Why don't my legs work? You really want to know? My muscles are weak because of polio But I work out everyday and my arms are strong They're just the thing for rolling me along CHORUS Every day when I go to school I ride a bus that's really pretty cool The lift takes my chair right down to the floor Help me with the locks and I'll race you to the door CHORUS Wasn't that funny when the substitute teacher Asked us to name that silly looking creature I raised my hand, she nearly dropped her chalk. She thought I couldn't think just because I couldn't walk CHORUS Can you come over? Ask your folks We can use the computer or just tell jokes And maybe later on I can come to visit you If your building has a ramp so my chair can visit too CHORUS My friend Jack has a chair like me But he's really old, he's almost twenty-three He can shoot basketball just like Doctor J. And just last week he started teaching me to play CHORUS
3. The Ballad of Jim Dickson – Words & Music By Eric Levine
Vocal & 12-string Guitar: Eric Levine
A ballad about a blind man who sailed across the Atlantic Ocean solo, with sophisticated equipment that gave him the ability to navigate. William F. Buckley Jr., a sailor himself, was so upset that a blind man might try to snatch his machismo, that he made it the focus of an article and a television debate.
CHORUS: To sail across the sea in a boat at your command To sail across the sea and say goodbye to land Jim Dickson was his name, And his eyes they could not see But his message focused clearly As he sailed across the sea The boat was named Eye Opener, the voyage purpose clear To sail a boat through prejudice, to spit to the winds of fear The sea was very stormy, the sea was very rough He could not make it to Plymouth, but Bermuda was enough When he got into the harbor, the press was all around The idea of a sightless sailor their minds it did confound "Did you really think you could do it?" and Dickson did reply "I got through one of the tougher storms, in fact I am alive." CHORUS Then out from the Ivy Leagues of Yale Bill Buckley lifted his pen A conservative neo-fascist right-wing American He said Jim Dickson never could appreciate the sea "Without the eyes that I have, how can you do like me?" Jim Dickson responded to Buckley, "Oh, who are you to say What I can and can't appreciate, as I travel on my way? You may have 20/20, your rods and cones all fine But your vision of the future is not half as keen as mine." CHORUS Some people see the sea with eyes, some people hear the waves We all perceive the world around in many different ways In Buckley's world there are barriers that anchor you in sand But he could not keep Jim Dickson malingering on the land The whole thing went on Nightline, the Dickson-Buckley debate Buckley said that the blind could not "appreciate ballet" And as we watched we could not help but hear the words they say As Buckley and Koppel pontificated in a patronizing way CHORUS
4. Denise and the MTA – Words by Sidney Emerman and Sam Anderson. Tune Traditional.
Vocals: Sam Anderson and Sid Emerman
Banjo: Eric Levine
Guitar: Maura Gregory
The true story of a women in a wheelchair who performed a dramatic act of civil disobedience which led to the movement to make all New York City Buses truly accessible (they are almost now).
'Twas a pleasant warm day in the month of September '81 on the 30th day When a plucky little maid named Denise McQuade Went to ride on the MTA It was opening day for the rear lift buses On the route M 104 Denise looked up Broadway, saw that GMC coming And wheeled right to its front door CHORUS: And will she ever get on? No, she'll never get on. No, she'll never get on board She may wait forever on the streets of Gotham For the bus plan is a fraud The bus driver said, "I'm sorry lady, they didn't give me a lift key." Denise flew into action threw herself on the steps Said "You won't leave here without me." When the MTA brass heard of this impasse They offered her a boost to get inside But she stuck to her guns, said "You promised us the lift, So get the key - and then we shall ride." Well they hemmed and they hawed, they pondered and they jawed And seven hours later brought the key When Denise and her chair got a lift into the air She flashed a sign of victory CHORUS: And will she get her ride? Yes, she'll get her ride, she's triumphantly inside With her will, with her way she has won the day Overcoming the bureaucrats' pride Now her victory smile and her victory sign Weren't seen by just you and me It made page one of the New York Post And Arnold Diaz put it all on TV Now many years have come and gone since that day Denise got on And a thousand wheelchair riders board each day And soon all buses will have lifts on both day and night- time shifts 'Cause they put Denise in charge down at the MTA. CHORUS: And will we all get on? Yes, we'll all get on We'll make the system work for us Able-bodied and disabled we will ride together On the subway and on the bus!
5. The Streets of New York City adapted from “The Streets of London”
by Ralph McTell (c 1970 Essex Music Intl TRO)
New Words By Mel Tanzman and Maura Gregory (Used with permission}
Vocals: Eric Levine, Sally Campbell, Michael Imperiale, Marcia Bernstein, Mel Tanzman
Guitar: Maura Gregory
12-string guitar: Eric Levine
Recorder: Sidney Emerman
Taken from the popular song, Mel Tanzman and Maura Gregory of the DIA singers paint a picture of loneliness and desperation in all 5 boroughs of our city.
Have you seen the young man outside the closed Queens factory Kicking up the papers with his worn out shoes? In his eyes you see no pride, and held loosely at his side Is yesterday's paper telling yesterday's news CHORUS: So how can you tell me you're lonely And say for you that the sun don't shine? Let me take you by the hand And lead your through the streets of New York City I'll show you somethin' to make you change your mind Have you seen the woman who walks the streets of Brooklyn Dirt in her hair and her clothes in rags? She's no time for talkin', she keeps right on awalkin' Carryin' her home in two black plastic bags CHORUS In the all-night Burger King at a quarter past eleven Sits an old man, there on his own Looking at Manhattan over the rim of his coffee cup Each cup lasts an hour. He wanders home alone CHORUS Have you seen the woman on the Staten Island ferry Staring out the window at the water below? Last time that her lover beat her She left, swore no one'd mistreat her But now she's out of money, and nowhere else to go CHORUS Have you seen the veteran outside the Bronx VA Hospital Sitting in his fatigues in a beat up wheelchair? Still suffering from the scars of war But they won't help him anymore One more broken promise from a government that doesn't care CHORUS
6. Thanksgiving Eve – Words & Music By Bob Franke Telephone Pole Music (Used with permission)
Vocals: Marcia Bernstein
12 string Guitar: Eric Levine
A song of sober reflection and inspiration which Bob Franke brought to a potluck Thanksgiving Day party. He says of it “I was thinking about how to express my view of the truth in a manner that would be accessible to lots of people whatever their religious tradition.”
It's so easy to dream of the days gone by It's a hard thing to think of the times to come But the grace to accept every moment as a gift Is a gift that is given to some CHORUS: What can you do with your days but work and hope That your dreams bind your work to your play? What can you do with each moment of your life But love till you've loved it away? Love till you've loved it away There are sorrows enough for the whole worlds end There are no guarantees but the grave But this life that I live and the times that I have spent Are treasures too precious to save CHORUS
7. Love’s Gonna’ Carry Us – Words and Music By Fred Small c 1981 Pine Barrens Music (BMI) (Used with permission)
Vocals: Michael Imperiale, Laura Wernick, Marcia Bernstein
12-string guitar: Eric Levine
And from the personal inspiration of the last song to the social inspiration of this song, Fred Small gives us wise advice on how to struggle together. Disabled in Action is made up of singer-activists, and we relate wholeheartedly to this advice.
CHORUS: It's been a long hard time, it's gonna' be a long steep climb But no one's gonna change our minds about what we gotta' do And when the road gets rough, everybody saying "Just give it up!" All of our friends' sweet love's gonna' carry us through We don't got the money but we got the will We've got voices talking the truth that could never be stilled They're gonna' threaten, you know they have killed to get their way But this movement we are building will not go away CHORUS Beware of the heroes, beware of the stars Because victory is hollow if it ain't really ours We're talkin' about changes, not just changing those faces at the top They say that freedom is a constant struggle and you can't ever stop Don't stop! CHORUS Now we're gonna' argue, we won't always agree But we can't let anger blind us to all we can be 'Cause we need the laughter, and we need the tears to wash us clean We need sisters and brothers beside us to follow the dream CHORUS
1. Pass The Laws – Words and Music by Joanna Cazden c 1977
(Used with permission)
Vocals: Sam Anderson, Sally Campbell, Michael Imperiale, Marcia Bernstein, Mary Ann Marra, Mel Tanzman
12-string Guitar: Eric Levine
Kazoo: Maura Gregory
Here is a song about a minority group that comes from the other side of a politicized polarity.
Come gather round good people, you must hear me well There's a danger in our country as you will hear me tell It begins with banging elbows as peacefully we dine It will end with the destruction of all that's good and fine so CHORUS: Pass the laws, pass the laws Make it clear in every clause Lefthanders are humanoid, We've got to keep them unemployed Southpaw liberation is the ruin of our nation Make it formal, make 'em normal, pass the laws We can't have them in the army or teaching in our schools Their minds are backward, sinister, they'll undermine the rules And they're stubborn as the devil though we lecture every night That the Bible cautions us to follow all that's good and right so CHORUS We have tortured them and twisted them and taunted them with rocks Tried Thorazine and Freud, behavior mod, electric shocks We've erased from all our history books this mutant 10 percent We've robbed them, robbed them of their children And still they won't repent. We can no longer hire to babysit the young girl living next to us For I heard her tell the children that she is ambidextrous Worst of all she had the nerve to say that anyone can learn The fulfilling, conscious joys Of using either hand by turn so CHORUS There's left and right, white and black, Short ones below, tall ones above Many ways we choose to live, ways we look and ways we love And though differences are scary I declare the bigger fright Is in bigotry legitimized, the danger's on the Right so CHORUS: Pass the laws, pass the laws Make it clear in every clause People have a right to be There's room for you, there's room for me Human liberation is our only salvation Make it formal, not abnormal. Pass the laws!
2. National Health Insurance Talking Blues – Words & Music by Eric Levine c 1994
Vocals, Banjo & Guitar: Eric Levine
An intimate, critical look into the innards of the current U.S. medical system. (Sing like a typical ‘Talking Blues’)
Well, I went down the street last night I knew things were not exactly right Some people came up to me under the light Next thing I knew I'd been stabbed with a knife I woke up in a hospital Some neatly dressed person came up to me with a clipboard And asked me this question: Do you have Blue Cross? Do you have Blue Shield? Major Medical? HMO? UFO? Rider J? Deductible? HIP? I said, "No, but I've got B-L-O-O-D Running down my primary A-S-S To my secondary T-O-E." He said. "Sorry we can't treat you." I said, "I'm gonna' V-O-M-I-T on Y-O-U." So they took me up to the O.R. S-T-A-T You know I had a hell of a time, the surgeon cut all along the line When he found out I was uninsured Not a moment of his time could I procure Sent me back from the hospital the same day I think they call it "same-day surgery." IV still in my arm Foley catheter still in my folio NG tube still in my nose Surgeon said, "Here's a wire cutters and a pamphlet. Take your sutures out yourself And don't shower for month." Now you know it deserves some recollection I got one hell of an infection Back to the hospital I did zoom, 2 a.m. to the emergency room A triage nurse sent me right were I had to go: Admissions Waited 4 hours Then a well dressed person came up to me with a clipboard and asked me this question: Do you have Blue Cross? Do you have Blue Shield? Major Medical? HMO? UFO? Rider J? Deductible? I said, "No, but I've got P-U-S and a T-E-M-P of 106. My heart is going out of NSR into PCPs and A-fibs. They said "Sorry, we don't deal with any of those companies." You know it's really a terrible shame This stupid ridiculous medical game Instead of taking out what's sick and bad They'll suction all the money you ever had Bluecrossosis Major medicosis With swollen offices Obliteration of the vein of decency Hypo Common Sense Hyper Wastefulness But you know these symptoms are to be expected When a patient suffers from the underlying condition of Profiteers Disease Pentagonorrhea So fight for national health insurance SINGLE PAYER only You'll be glad you did
3. Housecalls – Words & Music by Sis Cunningham (Used with permission)
Vocals: Sis Cunningham
12-string Guitar & Banjo: Eric Levine
The saga of the downfall of modern medicine from the point of view of older Americans who remember the old M.D. who cared and made housecalls.
Back in the old days we had a country doctor A general practitioner he was called He doctored folks for chilblains, for stomach aches, and labor pains He doctored summer, winter, spring and fall We'd call him on the party line, he'd crank up his jitney And come rattling down the dusty country lane When he opened up his little black bag out came the magic To staunch the wounds and banish the pain CHORUS: Housecalls, good old housecalls That's the way things were meant to be Housecalls, good old housecalls Doctor, oh doctor, come to me Nowadays when I'm ailing I call the doctor's office They say he's on leave till next July Or they say the doctor's busy Would you please call back on Tuesday And I think nobody cares if I die So I'm staggering out the door, and I'm stumbling up the street I don't know if I can make it at all When I get to emergency, I start to count the hours Waiting for my number to be called I had a little accident and landed in the hospital A resident team was touring my floor I said, "Doctors, could I ask you something, Just a little question?" But they'd already vanished out the door Today it seems they have a different doctor For every little thing that goes wrong If whatever's ailing me is not within their specialty It's "Sorry, good luck and so long." CHORUS In modern times your chances for longevity are greater No matter the condition of your health But you'd better have the do re mi To pay for new technology Survival may depend upon your wealth But who wants to live to be ninety or a hundred To muddle through these bitter senior years Without that good old doctor to come to your bedside And staunch your wounds and banish your fears The papers have reported a new and welcome practice Of a number of good psychiatrists They've agreed to make a housecall If they can be convinced That a reasonable emergency exists This should ease our worries and give us some comfort But permit me to tell you what I think: If GP's would make housecalls whenever they are needed I don't believe I'd ever need a shrink CHORUS
4. He May Be Slow – Words & music by Tom Paxton (Used with permission)
Vocals: Mary Ann Marra, Michael Imperiale
12-string Guitar: Eric Levine
Harmonica: Nancy Deluca
A beautiful song about a child’s relationship with a brother who has a disability. “He may be slow, Lord, but he’s right on time.”
Oh I have a little brother named Jim Sometimes I get a little worried about him Jim's about the nicest kid I know, but Jim is slow He always follows me wherever I go He thinks there's nothing in this world that I don't know He doesn't smile like the other kids do But the love shines through, the love shines through CHORUS: He may be slow, but he's still in motion He's got his own road, his own hill to climb All he needs is a little devotion He may be slow Lord, but he's right on time When I take him down to wait for the bus Those who know us have a smile for us I zip his jacket and I straighten his hat He likes that When they bring him back home around three I can tell that he's been looking for me And the wrestling and the tumbling begins He usually wins, he usually wins. CHORUS 2x
5. River – Words and Music By Bill Staines c. Mineral River Music (BMI)
(Used with permission)
Vocals: Marcia Bernstein, Michael Imperiale, Sidney Emerman, Mary Ann Marra, Sam Anderson
Guitars: Eric Levine
Recorder: Sidney Emerman
The music of this song flows along with us, carrying us like a river which brings us together in friendship.
I was born in the path of the winter wind And raised where the mountains are old Their springtime waters came dancing down And I remember the tales they told The whistling ways of my younger days Too quickly have faded on by Yet all of my memories linger on Like the light in a fading sky CHORUS: River, take me along in your sunshine. Sing me your song Ever moving and winding and free You rolling old river, you changing old river Let's you and me, river, run down to the sea Well I've been to the city and back again I've been moved by some things that I've learned Met a lot of good people and I've called them my friends Felt the change when the seasons turned I've heard all the songs that the children sing And listened to love's melodies I've felt my own music within me rise Like the wind in the autumn trees CHORUS Some day when the flowers are blooming still Some day when the grass is still green My rolling waters will round the bend Flow into the open sea So here's to the rainbow that's followed us here And here's to the friends that we know And here's to the song that's within us now We will sing it where'er we go CHORUS
6. The DIA Song – Words by Karen Luxton Gourgey & Fred Goldfarb
Tune ‘Weave Me The Sunshine’ by Peter Yarrow
Vocals: Anne and Sidney Emerman, Marcia Bernstein and Sam Anderson, Michael Imperiale
Harmonica: Nancy DeLuca
12-string guitar: Eric Levine
This song has been an anthem for the DIA singers from the inception of the group. It is a true disability freedom song!
CHORUS: Where, where, where have you left us? Right outside your door But we are your daughters and we are your sons And we won't be locked out anymore You call us "afflicted," you think we're so strange It's just those convictions that forged our true chains But we'll stand together, we see through your games And we won't be kept down anymore. CHORUS: Where, where, where have you left us? Right outside your door But we are your mothers and we are your fathers And we won't be locked out anymore You tell us how sorry you feel for our plight Then lock us in dungeons well out of your sight But we'll pull your walls down, break into the light And you won't keep us down anymore CHORUS: Where, where, where have you left us? Right outside your door But we are your sisters and we are your brothers And we won't be locked out anymore Barriers have kept us apart for too long The world's for all people; we all must belong Harmony's great if we sing the same song And no ones's left out anymore Harmony's great if we sing the same song And no one's left out anymore!
TO THE CONNOISSEUR OF STEREO AND HIGH FIDELITY
We were limited in our funding, despite the funds we raised for this project. The disability movement is not rich, and what funds are available are usually “tied up with day-to-day survival.”
So…we recorded this on one member’s portable four-track cassette machine. We did it in living rooms and disability centers, sometimes with blankets taped to the walls. With fourteen singers and various instruments, that ain’t easy; in short, we worked a miracle!
Sure, we would like that magic patron to “discover us,” but, realistically, what we most need is your continued support. That way, we will know that you’re out there next time.
Thank you, one and all,
The DIA Singers