Untitled

[brandonbarwick]

“Heart of the City” is a road song that documents solidarity not as ideology but as motion—boots tied, instruments gathered, friends meeting at a kitchen table before heading into struggle together. Set against the familiar, conversational melody of John Prine’s “Paradise,” the song grounds a specific labor action—the Palermo’s strike—in human detail, naming streets, distances, numbers fired, and the quiet resolve visible in workers’ faces. The chorus reframes militancy through intimacy, insisting that what sustains people facing injustice is not rhetoric but friendship, shared risk, and the willingness to physically show up. By emphasizing immigration status, long marches, and modest demands like union rights and decent wages, the song exposes the cruelty of exploitation while refusing to strip the workers of dignity or agency. In the end, “Heart of the City” becomes a moving archive of movement culture, preserving a moment when music functioned as morale, witness, and bridge—carried directly into the streets where history was still being decided. ________________________________________________________________

"Heart of the City" by Brandon Barwick Written: June 3, 2013 @ Memorial Library in Madison, WI Video recorded: February 4, 2026 in Whitewater, WI Tune: "Paradise" by John Prine

Those folks are still strikin', to Milwaukee we're headin' To march with the workers, and to play a few tunes So we gathered our horns and drums, and tied up our bootstraps Met over at Janet's, it was the first day of June

CHORUS: Singin' Gerry, let's head into the heart of the city Meet the rest of the comrades, on Fond Du Lac Ave See this cause here's important, gotta take down the fascists Them strikers ain't got much, but our friendship they have

About Eighty-Nine, of those workers were fired Only 'cause they were born, in a different country Well they're livin' here now, and it don't make no difference Where they came from or how they got here, they just want to be free

CHORUS

Those Palermo's workers, are lookin' for decent wages But Fallucca the owner, he thinks otherwise So they're hiking on down the road, an 18-mile journey When I spoke with those folks, I saw hope in their eyes

CHORUS

They need the right to a union, and good working conditions These are people just like us, and they got families We're gonna play 'em some songs, with hopes of raising their spirits 'Cause they're headin' to Mequon, walking that long, busy street

CHORUS

[brandonbarwick]

“Let’s Burn This J” (2013) Written by Brandon Barwick Written: October 5, 2013 (Briarwood, Madison, Wisconsin) Video recorded: February 4, 2026 (Whitewater, Wisconsin) Tune: “Three Little Birds” (Bob Marley)

“Let’s Burn This J” was written in the fall of 2013 as a relaxed, humorous song reflecting everyday friendship, music-making, and downtime during the broader period of the Wisconsin protest years.

While many songs from this era focus on public events, legal struggles, or political conflict, this piece captures the quieter margins of that same time — moments of rest, companionship, and creativity that existed alongside activism and organizing. Set to the familiar melody of Bob Marley’s “Three Little Birds,” the song borrows the laid-back tone and repetitive structure associated with reggae-inflected folk reinterpretations.

The lyrics are casual and conversational, centering on friendship, music, and shared space rather than narrative development or argument. References to instruments, improvisation, and hanging out situate the song within a long folk tradition of documenting everyday life as it is lived, not just as it appears in public record.

This video documents the song as performed years later, preserving it as part of a broader collection that includes protest songs, family ballads, geographic portraits, and informal personal pieces — reflecting the full range of experiences surrounding that period.

Lyrics:

Head on over, let’s burn this j ’Cause it’s all set to go, so let’s hit the stank Just head on over, let’s burn this j ’Cause it’s all set to go, so let’s hit the stank

Earlier today I awoke with a smile on my face My best friend in the world She was planning to stop by To roast on some herbs And this here’s the flamest grass (If we) jam on the trombone, that’s real low brass

Just head on over, let’s burn this j ’Cause it’s all set to go, so let’s hit the stank Just head on over, let’s burn this j ’Cause it’s all set to go, so let’s hit the stank

Earlier today I awoke with a smile on my face My best friend in the world She was planning to stop by To roast on some herbs And this here’s the flamest grass (If we) jam on the trombone, that’s real low brass

Just head on over, let’s burn this j. Let’s burn down this j, oh! ’Cause it’s all set to go, so let’s hit the stank. Let us burn it! Just head on over, let’s burn this j. We shall burn it! ’Cause it’s all set to go, so let’s hit the stank

Just head on over, let’s burn this j ’Cause it’s all set to go, so let’s hit the stank. We shall burn it! Just head on over, let’s burn this j ’Cause it’s all set to go, so let’s hit the stank

Just head on over, let’s burn this j ’Cause it’s all set to go, so let’s hit the stank

[brandonbarwick]

“Mama’s Birthday” (2014) Written by Brandon Barwick Written: September 23, 2014 (Madison College, Madison, Wisconsin) Video recorded: February 4, 2026 (Whitewater, Wisconsin) Tune: “Frog Went a-Courtin’” (traditional Scottish folk song, first published 1548)

“Mama’s Birthday” was written in 2014 as a lighthearted biographical song celebrating the everyday routines, habits, and humor of the songwriter’s mother. Written while attending Madison College, the song draws on the long folk tradition of adapting simple, repetitive melodies to tell domestic and family-centered stories.

Set to the tune of “Frog Went a-Courtin’,” a melody historically used for playful narrative verses, the song catalogs a single day through small, specific details: radio trivia, breakfast cereal, commuting to work, long years of teaching, pets, music preferences, and family meals. These details ground the song in lived experience rather than abstraction.

While many folk songs document public events or historical figures, this piece focuses intentionally on the ordinary — emphasizing gratitude, affection, and recognition for a lifetime of steady work and care. Humor and repetition serve not to diminish the subject, but to underline familiarity and love.

This video documents the song as performed years later, preserving it as a family tribute rendered in traditional folk form and situating personal memory alongside the broader body of biographical songs in the archive.

Lyrics:

Mama woke up to the radio, that's right Mama woke up to the radio, that's right Mama woke up to the radio Magic 98 — only station she knows Mama woke up to the radio, that's right

She called ’em up and won the trivia, that's right She called ’em up and won the trivia, that's right She called ’em up and won the trivia She knew Aaron’s gal’s name was Olivia She called ’em up and won the trivia, that's right

Apple Cinnamon Cheerios, that's right Apple Cinnamon Cheerios, that's right Apple Cinnamon Cheerios She ate a bowl’s worth and was out the door Apple Cinnamon Cheerios, that's right

Drivin’ to school to teach all day, that's right Drivin’ to school to teach all day, that's right Drivin’ to school to teach all day Genesis songs are what she’d play Drivin’ to school to teach all day, that’s right

Thirty-five years at Parker High, that's right Thirty-five years at Parker High, that's right Thirty-five years at Parker High We thought she’d teach ’til the day she died Thirty-five years at Parker High, that's right

Only pet for her is a guinea pig, that's right Only pet for her is a guinea pig, that's right Only pet for her is a guinea pig They eat their own turds, some are small, some are big Only pet for her is a guinea pig, that's right

Mama’s done an awful lot for me, that's right Mama’s done an awful lot for me, that's right Mama’s done an awful lot for me If it weren’t for her, I might be livin’ in a tree Mama’s done an awful lot for me, that's right

Well Mom, I hope your day was great, that's right Well Mom, I hope your day was great, that's right Well Mom, I hope your day was great So much pasta all over our plates Well Mom, I hope your day was great, that's right

[brandonbarwick]

“My Grandmother Jan” (2013) Written by Brandon Barwick Written: July 5, 2013 (Memorial Library, Madison, Wisconsin) Video recorded: February 4, 2026 (Whitewater, Wisconsin) Tune: “The Sinking of the Reuben James” (Woody Guthrie)

“My Grandmother Jan” was written in the summer of 2013 as a biographical folk ballad honoring the life and memory of the songwriter’s grandmother. Written while studying at Memorial Library in Madison, the song follows the traditional folk practice of documenting family history through narrative verse.

Set to the melody of “The Sinking of the Reuben James” by Woody Guthrie, the song adopts a familiar ballad form often used to tell stories of ordinary lives, tracing childhood, education, marriage, work, and family. Rather than focusing on public events, the lyrics emphasize everyday experiences, regional identity, and generational continuity.

The song situates one individual life within a broader Midwestern landscape — rural Illinois, postwar education, family labor, and community life — preserving personal history in the same musical tradition often used to document labor, migration, and social change.

This video documents the song as performed years later, preserving it as a family portrait rendered through folk music and maintaining the continuity between personal memory and traditional song.

Lyrics:

Well, she was born on this day, in nineteen twenty-nine Grew up on that farm, and her folks were mighty kind Pearl City was the hometown, for the family and their kin It's hard to fathom those times, ’cause this was a-way back when

Chorus (twice): Oh, Illinois was their land It's pretty flat and there ain't no sand This is where she was born and raised My Grandmother Jan

Now Jan was a real fine student, who was always gettin' good grades She was full of skill, she could do anything, a real Jill-of-all-trades She went off to school, got herself a degree, from Northern Illinois Granny was smart as the dickens, and worked much harder than all the boys

Chorus (twice)

On November twenty-fifth, at the age of twenty-one Jan got hitched to my Grandpa Norm, ’cause they were always a-havin' fun She took his last name Graper, and started a nursery school In the summertime, when they had off work, they'd be swimmin' down by the pool

Chorus (twice)

Well Jan gave birth to Penny, Pam, and Patti, the daughters three Norm and Jan had up and started themselves, a fine little family It was Norm and the gals, he was their best pal, a friend to everyone, now howdy ya do? The Graper Five were living their lives, on good ol' Rutledge Avenue

Chorus (twice)

[brandonbarwick]

“My Old Wisconsin Home (So Many Lakes)” (2013) Written by Brandon Barwick Written: May 18, 2013 (Memorial Library, Madison, Wisconsin) Video recorded: February 4, 2026 (Whitewater, Wisconsin) Tune: “My Oklahoma Home” (Sis Cunningham)

“My Old Wisconsin Home (So Many Lakes)” was written in the spring of 2013 as a geographic and cultural portrait of Wisconsin, blending folk music tradition with local history, landscape, and everyday life.

Written while studying at Memorial Library in Madison, the song moves region by region across the state — from Lake Superior and the Northern Highlands, through the Driftless Area and western uplands, to the eastern ridges, lowlands, and urban centers. Rather than focusing on protest directly, the song situates political and social life within a shared sense of place.

By 2013, Wisconsin had been the site of sustained political conflict, but it was also home — a place defined by lakes, rivers, seasons, public land, cities, small towns, and everyday routines. This song reflects that broader perspective, emphasizing attachment to landscape, community, and state identity.

Set to a melody by Sis Cunningham, whose work often centered rural life and regional pride, the song functions as a folk travelogue and an affirmation of belonging. It connects personal experience to shared geography, framing Wisconsin not only as a site of political struggle, but as a place people live, grow up, and imagine a future.

This video documents the song as performed years later, preserving it as part of the musical record associated with the Wisconsin Capitol protest era and the wider cultural landscape surrounding it.

Lyrics:

Well in eighteen forty-eight This land became our state Around a hundred thousand called it home It’s a place for you and me A place that’s full of trees A place for you to ramble ’round and roam

So many lakes (many lakes) So many lakes (many lakes) My old Wisconsin home — so many lakes We got four seasons in the year This is why we all live here My old Wisconsin home — so many lakes

Lake Superior’s way up north We used to travel back and forth Some mighty fine folks live there It’s a peaceful place Northern Highlands up there, too Lots of deer and wolves and moose You can hike around A real good spot to elevate

So many lakes (many lakes) So many lakes (many lakes) You can plant all types of crops Ain’t goin’ no place You can grow some big ol’ grain It’ll rain for days and days My old Wisconsin home — so many lakes

We got the Upland to the west A place to relax when you’re stressed You can visit good ol’ Blue Mound State Park Over one thousand acres there You got some hills with fresh, clean air Venture out into the sun or when it’s dark

So many lakes (many lakes) So many lakes (many lakes) Lots of rivers, too Like Black, Chippewa, and Kickapoo In the Driftless Area Explore those rivers, streams, and bluffs My old Wisconsin home — so many lakes

The Eastern Ridges and the Lowlands This is where you’ll find the most men And women, children, cars Bikes, schools, and pools Madison and Milwaukee Lots of kind folks. Lots of streets In Waukesha and Ozaukee You’ll meet some fools

So many lakes (many lakes) So many lakes (many lakes) Lake Michigan — one of the oldest of ’em all The word comes from Ojibwe Spend time there or head to Green Bay My old Wisconsin home — so many lakes

There’s two lakes in particular One’s over here. One’s over there I’m talkin’ ’bout “Lake. City. Lake” Here in Madison Mendota’s the bigger of the two But Monona’s calm and blue The Isthmus separates ’em It’s god damn radical

So many lakes (many lakes) So many lakes (many lakes) Go fishin’, skiin’, sailin’ Kayak. Canoe Drink some beers or drink some tea Spend time with the family My old Wisconsin home — so many lakes

So many lakes (many lakes) So many lakes (many lakes) My old Wisconsin home — so many lakes We got four seasons in the year This is why we all live here My old Wisconsin home — so many lakes

Well we’re some proud Wisconsinites And we might live here till we die If you’re ever in doubt Just look up to the sky ’Cause no matter where we’re found Our home is all around My old Wisconsin home is yours and mine

[brandonbarwick]

“Nelson Mandela” (2013) Written by Brandon Barwick Written: December 5, 2013 (Memorial Library, Madison, Wisconsin) Video recorded: February 4, 2026 (Whitewater, Wisconsin) Tune: “Deportee (Plane Wreck at Los Gatos)” (Woody Guthrie)

“Nelson Mandela” was written in December 2013, shortly after the death of Nelson Mandela, as a musical reflection on his life, legacy, and global significance. Written while studying at Memorial Library in Madison, the song draws on the tradition of biographical folk ballads that seek to summarize historical lives through narrative verse.

Set to the melody of “Deportee (Plane Wreck at Los Gatos),” a song associated with dignity, loss, and social justice, the lyrics trace key moments from Mandela’s early life, political awakening, imprisonment, and eventual release. The song emphasizes themes of sacrifice, endurance, and moral commitment rather than personal connection, acknowledging the limits of the songwriter’s perspective.

Although written within the context of the Wisconsin protest years, this song reaches beyond local events, reflecting how global struggles for justice and democracy informed the moral vocabulary of protest music during that period. Mandela’s story served as a reference point for perseverance, principled resistance, and long-term commitment to change.

This video documents the song as performed years later, preserving it as part of a broader tradition of folk music used to remember historical figures and transmit collective memory through song.

Lyrics:

In nineteen eighteen, you were born in Mvezo A tiny old village, in South Africa Your daddy died young, you were barely twelve years old You grew up right quick then, surrounded by kings

You noticed quite early, injustice around you People were starvin', and people were slaves The struggle for freedom, for food and for water You'd fight to keep breathing, or lie in your grave

Chorus: A son of the land, and a son of the people Blessed with great vision, to help take down the evil You sacrificed and cared, for the folks who were suffering A father to millions, you set them all free

You were kicked out of school, for a boycotting protest The food they were serving, was garbage and mud Kept on with your studies, and you married sweet Evelyn Made friends with the pinkos, and were practicing law

Things got a little rough, after failed demonstrations Talk of guerilla warfare, trading violence for peace You got banned from public speaking, kept getting arrested Held strong to your beliefs, wanting democracy

Chorus

You were captured in ’62, an old town named Howick For organizing strikes, for the workers of the land You gave a three-hour speech, in defense at your trial You were sentenced to life, all for fighting the man

They shipped you to Robben, straight to that dark prison And that's where you stayed, locked away eighteen years Served six more at Pollsmoor, got sicker than hell there God awful conditions, the thought'll bring you to tears

Chorus

Eleventh day of the second month, the year 1990 I was only five, you were seventy-one Stepped out of that prison, you were free, made a promise You let the world know, you had work to get done

Now this here's just one song, your life deserves millions You were quite a bit older, and we'd never met You stand for so much more, than I'll ever know of Mister Nelson Mandela, we will never forget

Chorus

[brandonbarwick]

“No More Party of Tea” (2012) Written by Brandon Barwick Written: July 20, 2012 (Madison College, Madison, Wisconsin) Video recorded: February 4, 2026 (Whitewater, Wisconsin) Tune: “A Sailor Went to Sea” (traditional children’s clapping game and skipping rhyme)

“No More Party of Tea” was written during the early, most intense phase of the Wisconsin Capitol protests, when opposition to Governor Scott Walker’s policies — particularly Wisconsin Act 10 and its effects on collective bargaining — was widespread and highly charged.

Songs written in 2011–2012 often drew on familiar children’s tunes, folk melodies, and simple call-and-response structures. Using well-known melodies made songs easy to learn quickly in large groups and allowed sharp political messages to circulate broadly among participants.

This song uses satire, exaggeration, and humor to express anger and frustration felt by many protesters at the time. The lyrics reflect a common protest tradition: using playful or ironic musical forms to critique those in power and to invert official authority through song.

While the imagery is pointed, the song functions as a period document of protest culture in Wisconsin during the Act 10 era — capturing the tone, language, and emotional intensity of that moment rather than proposing literal outcomes. It demonstrates how music was used as a vehicle for political expression, morale, and group participation inside and around the Wisconsin State Capitol.

This video documents the song as performed years later, preserving it as part of the historical musical record of the Wisconsin Capitol protest years.

Lyrics:

Scott Walker joined the GOP To see what he could be, be, be He doesn't care 'bout you and me He's a member of the party of tea, tea, tea

As a member of the party of tea, tea, tea Scott signed away our liberties People no longer feel they're free, free, free They treat us like a bunch of detainees

Since they treat us like a bunch of detainees Folks are goin' back to school to get degrees 'Cause we're smarter than Scott and the party of tea They're corrupt and they'll soon be history

When corruption in our state is history We will throw the world's largest party Scott won't be invited, that's a guarantee He'll be locked in a cell, and he won't have a key

When he's locked in that cell without a key He'll regret not valuing honesty He'll be let out daily at 2:30 To scrub the floors while he's on his knees

As he's scrubbin' those floors while he's on his knees He'll reflect on his shameful legacy There were things he should have done differently Like letting workers bargain collectively

Once the workers can bargain collectively We'll take back our state and do as we please We'll be able to help the entire country And there's no more party of tea, tea, tea

[brandonbarwick]

“Sing Along” (2013) Written by Brandon Barwick Written: August 31, 2013 (Madison College, Madison, Wisconsin) Video recorded: February 4, 2026 (Whitewater, Wisconsin) Tune: “Sing Along” (Malvina Reynolds)

“Sing Along” was written during a period when collective singing had become both a form of protest and a method of mutual support among participants in the Solidarity Sing Along.

By 2013, the Sing Along was not only a public demonstration inside the Wisconsin State Capitol, but also a space where people practiced speaking, singing, and acting together in ways that felt less intimidating than doing so alone. Many participants were not trained musicians or public speakers; singing together lowered barriers to participation and helped individuals find their voices in a public setting.

Adapted from a song by Malvina Reynolds, whose work often emphasized community action and collective courage, this piece focuses explicitly on the idea that people are stronger, louder, and more effective when they act together. The lyrics reference everyday situations — asking for a raise, confronting political power, feeling isolated — and frame collective singing as a way to overcome fear and isolation.

This video documents the song as performed years later, preserving it as part of the musical and cultural record of the Wisconsin Capitol protest era, and reflecting the role that group singing played in sustaining participation over time.

Lyrics:

You might get butterflies in your stomach Whenever you start to sing And when you're at that microphone You might shake like anything But if you'll sing along with me We can holler right out loud 'Cause you might be nervous lonesome But you're swell when with a crowd

Chorus: Sing Along (sing along) Sing Along (sing along) And just sing, “la la la la la” If you don't know the song You'll quickly learn the rhythm You'll find yourself a word 'Cause when we sing together We'll be heard

Oh, when you need a raise in pay And you have to ask your boss When you go talk to him by yourself You might be a total loss But if we go together You'll do your part right pretty 'Cause you might be nervous lonesome But we make a damn fine committee

Chorus

Our governor thinks he's a king He hobnobs with big biz He often forgets all the folks Who put him where he is Let's write that guy a letter We'll tell him what we need With over a million signatures We won't put up with his greed

Chorus

Oh, life is full of problems The world's a funny place Don't you sometimes wonder why You joined the human race? But when we work together It all seems right and true You might feel lonely by yourself But we're here to sing with you

Chorus (twice)

[brandonbarwick]

“The Capitol Rotunda” (2012) Written by Brandon Barwick Written: Fall 2012 (Memorial Library, Madison, Wisconsin) Video recorded: February 4, 2026 (Whitewater, Wisconsin) Tune: “The Yellow Rose of Texas” (traditional American folk song)

“The Capitol Rotunda” was written during the height of the Solidarity Sing Along, when weekday protest singing inside the Wisconsin State Capitol had become both a cultural ritual and a focal point of conflict between participants and state authorities.

By the fall of 2012, the Sing Along was facing increased enforcement by Capitol Police and the Wisconsin Department of Administration, including citations issued to individuals identified as conductors and participants. These enforcement actions centered on permit requirements for public gatherings and became the subject of ongoing legal challenges.

This song focuses on the Capitol rotunda itself — the physical space where the Sing Along took place — emphasizing its architecture, symbolism, and emotional resonance. The rotunda became not just a backdrop, but a shared civic space where people returned day after day to sing, protest, and assert their presence.

Written while studying at Memorial Library, the song blends traditional folk melody with contemporary protest lyrics, reflecting how familiar tunes were adapted to articulate local experience and collective memory during the Wisconsin Capitol protest years.

This video documents the song as performed years later, preserving it as part of the historical musical record of protest singing inside the Wisconsin State Capitol.

Lyrics:

There's a capitol rotunda Where we are going to sing Let's pack our brand-new banners And protest signs we'll bring There's just so much to sing about It always warms our hearts And if you go there often You will never fall apart

Chorus: The most glorious rotunda Wisconsin ever knew The murals and the statues Become a part of you You have been to other capitols But it's pretty plain to see That this capitol rotunda It was made for you and me

Well the chief was causing problems For our peaceful Sing Along He was giving out citations We were doing nothing wrong DOA's obsessed with permits Permission to protest? We never turned one of those in That would make us more oppressed

Chorus

No one can stop our singing As long as Walker's here Making cuts to schools and healthcare Hurting families and our peers We are going to sing here day and night Hear the mighty people roar And this capitol rotunda Will be ours forevermore

Chorus

[brandonbarwick]

“Together Till the Very End” (2013) Written by Brandon Barwick Written: November 2013 (Madison, Wisconsin) Video recorded: February 4, 2026 (Whitewater, Wisconsin) Tune: “Auld Lang Syne” (Robert Burns)

“Together Till the Very End” was written during a period of heightened tension between Solidarity Sing Along participants and Wisconsin state authorities, as enforcement of Capitol protest rules intensified following the 2011 Act 10 protests.

By 2013, hundreds of Sing Along participants had been cited or arrested under Capitol permitting policies. Enforcement was uneven, with some individuals receiving a single citation while others accumulated many more. These actions led to multiple court cases challenging the constitutionality of the rules and the manner in which they were enforced.

Set to the tune of “Auld Lang Syne,” a song traditionally associated with remembrance and solidarity, this piece reframes that melody as a protest song. The lyrics directly reference mass citations, perceived arbitrariness in enforcement, and broader concerns about civil liberties and public policy in Wisconsin during that period.

The song also reflects the collective resolve of those involved in the Sing Along: continuing to gather, sing, and support one another despite legal pressure and uncertainty. This video documents the song as performed years later, preserving it as part of the historical musical record of the Wisconsin Capitol protest era.

Lyrics:

Should we forget what happened here? Two hundred people cuffed While cowards hid from citizens Eatin’ donuts till they’re stuffed

Eatin’ donuts till they’re stuffed, my friends Eatin’ donuts till they’re stuffed While cowards hid from citizens Eatin’ donuts till they’re stuffed

What were they thinking last summer? Infringing on our rights Erwin’s pulling names out of a hat Has no clue who he cites

Has no clue who he cites, my friends Has no clue who he cites Erwin’s pulling names out of a hat Has no clue who he cites

They’ve tried to end the Sing Along With citations galore Some folks have one and some have five And some have thirty-four!

And some have thirty-four, my friends And some have thirty-four Some folks have one and some have five And some have thirty-four!

When will these tyrants leave Our House? So we can fix what they have done The most regressive policies Hard to vote? Easy to get a gun?

Hard to vote? Easy to get a gun?, my friends Hard to vote? Easy to get a gun? The most regressive policies Hard to vote? Easy to get a gun?

Our Solidarity will never cease We’re together till the very end So grab your songbook and come on down To sing protest songs with all your friends!

Sing protest songs with all your friends, oh yes Sing protest songs with all your friends So grab your songbook and come on down To sing protest songs with all your friends!

[brandonbarwick]

“With the Trees” (2014) Written by Brandon Barwick Written: August 1, 2014 (Madison College, Madison, Wisconsin) Video recorded: February 4, 2026 (Whitewater, Wisconsin) Tune: “Missouri Road Song” (Bill Staines)

“With the Trees” was written during the later period of the Solidarity Sing Along era, when protest singing in Wisconsin had become part of everyday life rather than a momentary response to a single event.

By mid-2014, many participants were balancing activism with work, school, travel, and financial uncertainty. Songs written during this period often blended protest culture with themes drawn from folk tradition: rambling, mutual aid, shared meals, weather, nature, and the simple act of singing together as a way to endure difficult circumstances.

This song reflects that tone. While rooted in Wisconsin and the lived experience of protest-era community, it leans more toward pastoral imagery and emotional resilience than direct political commentary. Singing “with the trees” becomes a metaphor for persistence, grounding, and connection — to place, to people, and to the natural world surrounding everyday life in Wisconsin.

This video preserves the song as performed years later, documenting it as part of the broader musical record connected to the Wisconsin Capitol protest years.

Lyrics:

Oh, good morning Wisconsin, and what have you say? I slept in the dirt, but this here's a new day Let's sing songs with the birds, and we're all feeling gay And trouble don't live where we're goin'

My wallet's half gone, and my hands are beat up I'll sing you a song, for a sip from your cup I'm a ramblin' around, hardly running on luck See a smile on your face and it's growin'

[Bridge] We'll leap with the toads, that live down in the creek Who sing all night long, as they puff out their cheeks And we'll dance and we'll drink, and I might take a peek As we breathe with the trees in the breeze La-da-di-da, do-do-do-do

Oh, good mornin' Wisconsin, and what will it be? A-rain's pouring hard, and it's comin' for me If I run fast enough, I can hide in a tree But that song, it keeps me from goin'

These clouds will let up, and the sun'll shine bright We'll sing and we'll laugh, at what happened last night Just a couple of lovers, enjoying the sight And that smile on your face, it keeps growin'

[Bridge] (twice) The butterflies around us, are dancing along And the beavers and squirrels, realize they belong Close your eyes, listen close, you can still hear the song As we breathe with the trees in the breeze La-da-di-da, do-do-do-do

As we breathe with the trees in the breeze La-da-di-da, do-do-do-do

[brandonbarwick]

“Wonderful Sing Along” (2014) Written by Brandon Barwick Written: November 25, 2014 (Madison, Wisconsin) Video recorded: February 4, 2026 (Whitewater, Wisconsin) Tune: “Wonderful Christmastime” (Paul McCartney)

This song was written during the later years of the Solidarity Sing Along, a long-running weekday protest that took place inside the Wisconsin State Capitol beginning in 2011, in response to Wisconsin Act 10 and the broader labor protests of that period.

By November 2014, people had been gathering at noon to sing for nearly four consecutive years. Even as participation fluctuated and legal pressure increased — including citations, arrests, and court cases involving Sing Along participants — the practice of collective singing continued.

“Wonderful Sing Along” is a lighthearted song written from inside that daily experience. It reflects the persistence, routine, and community that developed over time: showing up at noon, singing through winter cold, sharing songbooks, and continuing long after many expected the Sing Along to fade away.

This video documents the song as performed years later, preserving it as part of the historical record of the Wisconsin Capitol protests.

Lyrics:

The time is noon It’s super cold We’re singing songs Till we get old

Simply having a wonderful Sing Along Simply having a wonderful Sing Along

Our friends are here The songbooks too Snow on the ground Till May or June

Simply having a wonderful Sing Along Simply having a wonderful Sing Along

The Learning Curve Is gathered ’round Guitars and drums Melodic sounds

Simply having a wonderful Sing Along Simply having a wonderful Sing Along

Almost four years Day after day You’d think we’d tire No way José

Simply having a wonderful Sing Along Simply having a wonderful Sing Along

When will it end? Nobody knows So write a song Here’s how it goes

Simply having a wonderful Sing Along Simply having a wonderful Sing Along

Simply having a wonderful Sing Along Simply having a wonderful Sing Along

[brandonbarwick]

Brandon Barwick is an American activist and musician whose work examines protest singing as a form of civic practice and cultural continuity. He was actively involved in the Solidarity Sing Along at the Wisconsin State Capitol from 2011 to 2015, where daily collective singing persisted after mass demonstrations subsided. Drawing on lived movement experience, his work focuses on sound, participation, and the governance of public space, with particular attention to how informal cultural practices sustain political communities over time. His music and writing document these practices within the folk tradition, emphasizing accessibility, shared ownership, and historical lineage.

[brandonbarwick]

"Mama's Birthday" by Brandon Barwick Written: September 23, 2014 Tune: "Frog Went a-Courtin'", a Scottish folk song, first published in 1548 Photo: Mom and me, July 2006 in Janesville, WI

Mama woke up to the radio, that's right Mama woke up to the radio, that's right Mama woke up to the radio Magic 98- only station she knows Mama woke up to the radio, that's right

She called 'em up and won the trivia, that's right She called 'em up and won the trivia, that's right She called 'em up and won the trivia She knew Aaron's gal's name was Olivia She called 'em up and won the trivia, that's right

Apple Cinnamon Cheerios, that's right Apple Cinnamon Cheerios, that's right Apple Cinnamon Cheerios She ate a bowls-worth and was out the door Apple Cinnamon Cheerios, that's right

Drivin' to school to teach all day, that's right Drivin' to school to teach all day, that's right Drivin' to school to teach all day Genesis songs are what she'd play

35 years at Parker High, that's right 35 years at Parker High, that's right 35 years at Parker High We thought she'd teach 'til the day she died 35 years at Parker High, that's right

Only pet for her is a guinea pig, that's right Only pet for her is a guinea pig, that's right Only pet for her is a guinea pig They eat their own turds, some are small, some are big Only pet for her is a guinea pig, that's right

Mama's done an awful lot for me, that's right Mama's done an awful lot for me, that's right Mama's done an awful lot for me If it weren't for her, I might be livin' in a tree Mama's done an awful lot for me, that's right

Well Mom, I hope your day was great, that's right Well Mom, I hope your day was great, that's right Well Mom, I hope your day was great 20 types of pasta all over our plates Well Mom, I hope your day was great, that's right

[brandonbarwick]

I had a lovely lunch with my mom and aunt today at Jessica's in Whitewater to celebrate Mother's Day. My mom and aunt are the two best mothers in the world, and I owe everything to them. Both were public school teachers for over 30 years, which says everything you need to know about how wonderful they are. My aunt primarily taught elementary school and French, and my mom taught high school English. I would not be the person I am today without their never-ending love and support. Thank you both for everything.

Photo of my mom and me, taken by Aunt Pam, Saturday 5/10/25

[brandonbarwick]

"My Grandmother Jan" by Brandon Barwick Written: July 5, 2013 Tune: "The Sinking of the Reuben James" by Woody Guthrie Photo by: Penny Barwick, July 4, 2009

Well, she was born on this day, in Nineteen Twenty-Nine Grew up on that farm, and her folks were mighty kind Pearl City was the hometown, for the family and their kin It's hard to fathom those times, 'cause this was a-way back when

CHORUS (twice): Oh, Illinois was their land It's pretty flat and there ain't no sand This is where she was born and raised My Grandmother Jan

Now Jan was a real fine student, who was always gettin' good grades She was full of skill, she could do anything, a real Jill-of-all-trades She went off to school, got herself a degree, from Northern Illinois Granny was smart as the dickens, and worked much harder than all the boys

CHORUS (twice)

On November Twenty-Fifth, at the age of Twenty-One Jan got hitched to my Grandpa Norm, 'cause they were always a-havin' fun She took his last name Graper, and started a nursery school In the summertime, when they had off work, they'd be swimmin' down by the pool

CHORUS (twice)

Well Jan gave birth to Penny, Pam, and Patti, the daughters three Norm and Jan had up and started themselves, a fine little family It was Norm and the gals, he was their best pal, a friend to everyone, now howdy ya do? The Graper Five were living their lives, on good ol' Rutledge Avenue

CHORUS (twice)

[brandonbarwick]

"Wonderful Sing Along" by Brandon Barwick Written: November 25, 2014 Tune: "Wonderful Christmastime" by Paul McCartney Photo by: Leslie Amsterdam, April 19, 2013

The time is noon It's super cold We're singing songs Till we get old

Simply having a wonderful sing along Simply having a wonderful sing along

Our friends are here The songbooks too Snow on the ground Till May or June

Simply having a wonderful sing along Simply having a wonderful sing along

The Learning Curve Is gathered 'round Guitars and drums Melodic sounds

Simply having a wonderful sing along Simply having a wonderful sing along

Almost four years Day after day You'd think we'd tire No way José

Simply having a wonderful sing along Simply having a wonderful sing along

When will it end? Nobody knows So write a song Here's how it goes

Simply having a wonderful sing along Simply having a wonderful sing along

Simply having a wonderful sing along Simply having a wonderful sing along