Tag: Songwriters

Discover Songwriters written by slam poets, cowboy poets, and literary giants inspired by the state of Arizona!

Pieces of the Night song Gin Blossoms Doug Hopkins poet | AZpoetry.com

Pieces of the Night by Doug Hopkins

“Pieces of the Night” by Doug Hopkins

Well is it any wonder that the stars don’t just rush by
When you’re only doin’ 60 through this oh-so-vacant night
But it’s lackin’ something big this time
What the hell did you expect to find?
Aphrodite on a barstool by your side

Twelfth night we go
After something everyone should know
Somewhere in the distance out of sight
Then I saw gin mill rainfall
What do you remember if at all?
Only pieces of the night

And is it any wonder in the middle of the crowd
If you let your feet get trampled on
When the music is that loud
But you wanted to be where you are
But it looked much better from afar
A hillside in shadow between the people and the stars

Twelfth night we go
After something everyone should know
Somewhere in the distance out of sight
Then I saw gin mill rainfall
What do you remember if at all?
Only pieces of the night

And it seems so distant
But still only half the night away
Where notions between your questions come too
Is it any wonder where
The pieces of the night have been?

Twelfth night we go
After something everyone should know
Somewhere in the distance out of sight
Then I saw gin mill rainfall
What do you remember if at all?
Only pieces of the night
Only pieces of the night
Then I saw
Only pieces of the night

Twelfth night we go
After something everyone should know
Somewhere in the distance out of sight
Then I saw gin mill rainfall
What do you remember if at all?
Only pieces of the night

Twelfth night we go
After something everyone should know
Somewhere in the distance out of sight
Then I saw gin mill rainfall

Watch “Pieces of the Night” by Gin Blossoms

About the poet Doug Hopkins

“Pieces of the Night” by Doug Hopkins, and performed by the Gin Blossoms, is a haunting meditation on the fleeting nature of our memories and experiences. Through vivid imagery—driving slowly through a vacant night, encountering the surreal sight of “gin mill rainfall,” and evoking the legendary allure of a mythical figure on a barstool—Hopkins captures how moments of beauty and chaos slip away, leaving us with only fragments. The recurring reference to “Twelfth night” hints at the cyclical nature of these ephemeral experiences, suggesting that even as time passes, the impressions of the night linger like scattered pieces of a once-vibrant puzzle.

Hopkins’ lyrics challenge us to reflect on what we truly remember when the night fades into dawn—are our memories as complete as we wish, or are they, like the stars, just fragments of a greater, elusive tapestry?

To learn more about Doug Hopkins, his unique poetic vision, and his contributions to Arizona’s cultural landscape, visit his full bio HERE.

Listen to Gin Blossoms on Spotify

Get Back by Paul McCartney poem artwork AZpoetry.com

Get Back by Paul McCartney

“Get Back” by Paul McCartney

Jojo was a man who thought he was a loner
But he knew it couldn’t last
Jojo left his home in Tucson, Arizona
For some California grass

Get back, get back
Get back to where you once belonged
Get back, get back
Get back to where you once belonged
Get back Jojo

Go home

Get back, get back
Back to where you once belonged
Get back, get back
Back to where you once belonged, yeah
Oh, get back, Jo

Sweet Loretta Martin thought she was a woman
But she was another man
All the girls around her say she’s got it coming
But she gets it while she can

Oh, get back, get back
Get back to where you once belonged
Get back, get back
Get back to where you once belonged
Get back Loretta, woo, woo

Go home

Oh, get back, yeah, get back
Get back to where you once belonged
Yeah, get back, get back
Get back to where you once belonged

Ooh
Ooh, ooh
Get back, Loretta
Your mommy’s waitin’ for you
Wearin’ her high-heel shoes
And a low-neck sweater
Get back home, Loretta

Get back, get back
Get back to where you once belonged
Oh, get back, get back
Get back, oh yeah

Listen to “Get Back” by The Beatles on Spotify

About the poet Paul McCartney

At first listen, “Get Back” seems like a catchy, rollicking tune about two characters—Jojo and Loretta—both of whom find themselves out of place and in need of a return to their roots. But beneath its bluesy guitar riffs and laid-back energy lies a song with deeper cultural and lyrical resonance, not to mention a surprising connection to the Arizona desert.

A Story of Displacement and Return

The lyrics open with Jojo, “a man who thought he was a loner,” who leaves his home in Tucson, Arizona in search of “some California grass.” The reference to Tucson is not incidental; it offers a starting point that’s grounded, familiar, and earthy, in contrast to the vaguer, more dreamlike California destination. The phrase “California grass” may be interpreted as either literal pasture or a thinly veiled reference to the 1960s counterculture and its association with marijuana and idealism. Jojo’s journey to California—and the subsequent chorus urging him to “Get back to where you once belonged”—seems to caution against losing oneself in the pursuit of something that may be more illusion than reality.

The second verse introduces Loretta Martin, who bends gender norms and challenges societal expectations. Her presence is rebellious and provocative, and she too is told to “get back.” In both verses, the refrain functions like a grounding mantra, reminding each character—and perhaps the listener—to return to what is real, authentic, and rooted in identity.

Satire, Rebellion, and Social Commentary

The Beatles were known for embedding humor and social critique in their lyrics, and “Get Back” is no exception. While it began as a satirical commentary on anti-immigrant sentiment in the UK, it evolved into a more playful and universal story of people who lose their way—or who are seen as out of place—being encouraged to return home. That invitation to “get back” could be heard as both nostalgic and ironic, depending on the listener’s perspective.

Paul McCartney’s casual vocal delivery and the band’s jam-like energy lend the song a sense of spontaneity and familiarity. It feels less like a polished studio track and more like a snapshot of a moment in time—fitting, since it was famously captured during The Beatles’ final rooftop concert in 1969.

Tucson’s Place in Beatles Lore

For fans in Arizona, Jojo’s roots in Tucson offer a special link to Beatles history. The lyric gives Tucson a place in the band’s legacy and hints at a real-life connection that goes far deeper. Paul McCartney later made Tucson a second home, purchasing a 150-acre ranch there in 1979 with his wife Linda. The couple shared many years in the Sonoran Desert, and Linda ultimately passed away at the Tucson ranch in 1998. Her ashes were scattered on the property, binding the McCartney family forever to Arizona soil.

So when Paul sings of Jojo leaving Tucson in “Get Back,” it’s easy to imagine his own emotional journey—a man forever navigating between the global spotlight and the grounded quietude of his desert home.


Want to explore more about Paul McCartney’s surprising and deeply personal ties to Arizona?
👉 Visit his poet bio page on AZPoetry.com to discover the full story behind one of the world’s most celebrated musicians and his meaningful connection to the Grand Canyon State.

Big Iron poem artwork Marty Robbins | AZpoetry.com

Big Iron by Marty Robbins

“Big Iron” by Marty Robbins

To the town of Agua Fria rode a stranger one fine day
Hardly spoke to folks around him, didn’t have too much to say
No one dared to ask his business, no one dared to make a slip
For the stranger there among them had a big iron on his hip
Big iron on his hip

It was early in the morning when he rode into the town
He came riding from the south side slowly lookin’ all around
He’s an outlaw loose and running, came the whisper from each lip
And he’s here to do some business with the big iron on his hip
Big iron on his hip

In this town there lived an outlaw by the name of Texas Red
Many men had tried to take him and that many men were dead
He was vicious and a killer though a youth of 24
And the notches on his pistol numbered one and 19 more
One and 19 more

Now the stranger started talking, made it plain to folks around
Was an Arizona ranger, wouldn’t be too long in town
He came here to take an outlaw back alive or maybe dead
And he said it didn’t matter he was after Texas Red
After Texas Red

Wasn’t long before the story was relayed to Texas Red
But the outlaw didn’t worry men that tried before were dead
20 men had tried to take him, 20 men had made a slip
21 would be the ranger with the big iron on his hip
Big iron on his hip

The morning passed so quickly, it was time for them to meet
It was 20 past 11 when they walked out in the street
Folks were watching from the windows, everybody held their breath
They knew this handsome ranger was about to meet his death
About to meet his death

There was 40 feet between them when they stopped to make their play
And the swiftness of the ranger is still talked about today
Texas Red had not cleared leather ‘fore a bullet fairly ripped
And the ranger’s aim was deadly with the big iron on his hip
Big iron on his hip

It was over in a moment and the folks had gathered round
There before them lay the body of the outlaw on the ground
Oh, he might have went on living but he made one fatal slip
When he tried to match the ranger with the big iron on his hip
Big iron on his hip
Big iron, big iron
When he tried to match the ranger with the big iron on his hip
Big iron on his hip

Listen to “Big Iron” by Marty Robbins on Spotify

About the poet Marty Robbins

Marty Robbins’ “Big Iron” is a masterclass in Western balladry, blending vivid storytelling, poetic imagery, and timeless themes of justice and fate. The song follows a mysterious Arizona Ranger as he rides into Agua Fria, determined to bring down the feared outlaw Texas Red. Through meticulous lyricism, Robbins crafts a narrative rich in suspense, folklore, and poetic justice.

Summary & Themes

From the very first lines, Robbins immerses the listener in a classic Western showdown, using precise, cinematic storytelling. The stranger, later revealed as an Arizona Ranger, arrives in town with a singular purpose—to bring an outlaw to justice. Texas Red, a ruthless gunslinger with twenty kills to his name, is confident that he will add another notch to his pistol. However, the climactic duel proves otherwise—the Ranger is too quick, and Texas Red falls.

The song is ultimately a tale of inevitability. Robbins constructs a sense of fateful doom, where the outlaw’s overconfidence leads to his downfall. The refrain “big iron on his hip” serves as both a symbol of justice and an ominous reminder that no outlaw is beyond retribution.

Poetic Devices & Analysis

Robbins’ lyrical style in Big Iron is steeped in poetic tradition, utilizing alliteration, repetition, and strong visual imagery to enhance the narrative. Some of the most effective poetic elements include:

  • Repetition for emphasis – The phrase “big iron on his hip” is repeated like a legend being passed down, reinforcing the mythical nature of the Ranger’s skill.
  • Imagery and suspense – The line “There was 40 feet between them when they stopped to make their play” creates a stark, visual intensity, mirroring the tension of a classic gunfight.
  • Symbolism – The big iron itself becomes a symbol of swift justice, embodying law and order in the untamed frontier.
  • Folk ballad structure – The song follows a narrative arc that resembles oral storytelling traditions, making it feel like a timeless Western legend.

Legacy & Impact

“Big Iron” remains one of Robbins’ most celebrated songs, inspiring countless covers, cultural references, and even a revival in video games like Fallout: New Vegas. The song is an example of how poetry and music intertwine to create enduring folklore, with Robbins acting as a modern bard of the Old West.

Marty Robbins’ ability to transform historical themes into poetic ballads cements his place among the greatest Western storytellers. His lyrical craftsmanship continues to influence songwriters and poets alike, proving that the art of narrative poetry in music is far from lost.

Discover more about Marty Robbins’ life, poetry, and songwriting legacy here on his poet bio page.

Curt Kirkwood Arizona poet Meat Puppets songwriter

Curt Kirkwood

Curt Kirkwood: Arizona’s Alt-Rock Poet and the Visionary Behind the Meat Puppets

Curt Kirkwood is more than just a musician—he is a poetic force whose songwriting has left an indelible mark on Arizona’s alternative rock scene and beyond. As the founding member, lead vocalist, guitarist, and primary songwriter of the legendary band Meat Puppets, Kirkwood has crafted lyrics that merge desert surrealism, existential musings, and raw storytelling into a distinct poetic style. His songs, including the iconic tracks “Plateau,” “Oh, Me,” “Lake of Fire,” and “Backwater,” have captivated audiences worldwide and solidified his reputation as a lyrical poet of the American underground. Many of these alternative song classics are available on the album The Meat Puppets II.

Roots in Arizona and the Formation of a Legacy

Born on January 10, 1959, Curt Kirkwood’s journey began in Phoenix, Arizona, where he and his brother, Cris Kirkwood, would go on to form the Meat Puppets in 1980. Their genre-blending sound—fusing punk, country, and psychedelia—set them apart in the indie rock landscape and earned them a cult following. The arid landscapes of Arizona served as both a backdrop and inspiration for much of Kirkwood’s lyricism, evident in the dreamlike, often hallucinatory imagery present throughout his songwriting.

The Poetic Lyrical Style of Curt Kirkwood

Kirkwood’s lyrics defy easy classification. Part cosmic cowboy, part punk philosopher, he weaves narratives that blur the lines between reality and fantasy, humor and melancholy, existential dread and reckless joy. The desert, a recurring motif in his work, becomes both a physical and metaphysical space—a place of solitude, rebirth, and mystery. His distinct poetic voice transforms simple storytelling into something mythic, mystical, and deeply personal.

From Indie Legend to Mainstream Recognition

While the Meat Puppets gained underground acclaim in the 1980s, they rose to mainstream prominence in the 1990s when Nirvana’s Kurt Cobain handpicked them to perform on the legendary MTV Unplugged in New York special in 1993. Cobain’s reverence for Kirkwood’s songwriting led Nirvana to cover three Meat Puppets songs, introducing Kirkwood’s poetic lyricism to a new generation of fans.

A Career of Evolution and Experimentation

Beyond the Meat Puppets, Kirkwood has continued to explore the depths of his creativity, forming and playing in other projects such as:

  • Eyes Adrift (2002–2003) – a collaboration with Krist Novoselic (Nirvana) and Bud Gaugh (Sublime), blending folk and alternative rock.
  • Volcano (2004) – a short-lived project that further expanded his psychedelic, abstract storytelling.
  • Solo Career (2005–present) – His 2005 solo album Snow revealed a stripped-down, intimate side of his songwriting, showcasing a more raw, poetic expression.

A Visual Artist as Well as a Wordsmith

Kirkwood’s artistry isn’t limited to music—he is also a visual artist whose work has been featured on multiple Meat Puppets album covers and merchandise. His distinctive style mirrors his songwriting—colorful, surreal, and evocative of the untamed spirit of the Southwest.

The Meat Puppets’ Ongoing Legacy

After a brief hiatus, the Meat Puppets reunited in 2006, with Curt and Cris Kirkwood leading the charge. The band remains an active and influential force, releasing albums such as Rise to Your Knees (2007), Sewn Together (2009), Lollipop (2011), Rat Farm (2013), and Dusty Notes (2019). Kirkwood’s poetic sensibilities continue to shine, proving that his lyrical mysticism and desert-infused storytelling remain as vibrant as ever.

Curt Kirkwood: The Poetic Outlaw of Arizona’s Alternative Rock Scene

Curt Kirkwood’s impact on music and poetry is undeniable. His lyrics blur the line between song and spoken-word poetry, making him a true Arizona poet in the alternative rock tradition. His work has influenced generations of musicians and writers, proving that poetry isn’t confined to the page—it can roar through amplifiers, echo across the desert, and carve out its place in rock history.

To dive deeper into the poetic mind of Curt Kirkwood, visit his poet bio page here.

Linda Ronstadt poet | AZpoetry.com

Linda Ronstadt

Linda Ronstadt: Arizona’s Legendary Voice of Music and Poetry

Early Life and Arizona Roots

Born on July 15, 1946, in Tucson, Arizona, Linda Maria Ronstadt grew up surrounded by the vast landscapes and rich cultural heritage of the Sonoran Desert. Raised on a 10-acre ranch, she came from a family deeply rooted in Arizona’s pioneering history. Her father, Gilbert Ronstadt, was a businessman whose German-Mexican heritage connected him to Tucson’s early days, while her mother, Ruth Mary Ronstadt, was of German, English, and Dutch descent.

Music was a vital part of Ronstadt’s childhood. Her father was an avid singer, and her grandfather, Fred Ronstadt, was a wagon maker and musician who played a key role in Tucson’s early cultural scene. The Ronstadt family would often gather to sing traditional Mexican folk songs, exposing young Linda to the vibrant rhythms of rancheras, mariachi, and corridos. This influence would later become a defining element of her musical identity, particularly in her celebrated Spanish-language albums.

Ronstadt’s hometown of Tucson shaped her artistic sensibilities. She grew up hearing a blend of genres, from Mexican ballads to country-western tunes and early rock ‘n’ roll, which fueled her love for music. This deep connection to Arizona’s cultural diversity made her one of the most unique and influential voices in American music history.

Musical Beginnings and the Rise to Fame

Ronstadt’s professional career began in the mid-1960s when she moved to Los Angeles to pursue her musical dreams. She formed the folk-rock trio the Stone Poneys, alongside Bobby Kimmel and Kenny Edwards, both of whom she had met in Tucson. The band’s 1967 hit song, “Different Drum”, written by Michael Nesmith of The Monkees, became Ronstadt’s first major breakthrough, showcasing her powerful yet emotive voice.

Following the Stone Poneys’ success, Ronstadt launched her solo career with her 1969 album, Hand Sown… Home Grown, often cited as the first alternative country album by a female artist. However, it was in the 1970s that she dominated the music industry, earning the title of “The Queen of Rock”.

With hits like “You’re No Good,” “When Will I Be Loved,” “Blue Bayou,” and “It’s So Easy”, Ronstadt became one of the biggest-selling female artists of the decade. She was the first woman in rock to achieve multi-platinum success and was frequently featured on the covers of major music magazines, including Rolling Stone and Time. Her versatility in blending rock, country, folk, and pop set her apart from her contemporaries.

Arizona’s Influence on Her Music

Despite her immense success, Ronstadt’s heart remained in Arizona. She frequently spoke about her Southwestern upbringing and how it shaped her artistic vision. Tucson’s rich musical landscape, from Mexican rancheras to country-western ballads, directly influenced her musical style and song choices.

Her landmark 1987 album, Canciones de Mi Padre, paid tribute to her Mexican heritage and became the best-selling non-English-language album in American history. The album featured traditional Mexican folk songs that she grew up listening to on her family’s ranch in Tucson. The title, Canciones de Mi Padre (Songs of My Father), was a tribute to her father’s influence on her musical upbringing.

Songs like “La Charreada” and “Dos Arbolitos” showcased her ability to interpret traditional Mexican music with authenticity, earning her a Grammy Award for Best Mexican-American Album. She followed up this success with two more Spanish-language albums, Mas Canciones (1991) and Frenesí (1992), further cementing her status as a cultural bridge between American and Mexican musical traditions.

Storytelling Through Music and Lyrics

Ronstadt was more than just a singer—she was a storyteller. Her songs, much like poetry, captured raw emotion, personal reflection, and vivid imagery. Whether singing about heartbreak, resilience, or the beauty of the desert, her lyrics painted a picture of the human experience.

Her signature song, “Blue Bayou,” tells the melancholic tale of longing for home, a theme that resonated deeply with Arizona’s wide-open landscapes and the feeling of nostalgia for familiar places. Similarly, “El Camino” and “Los Laureles” from Canciones de Mi Padre echoed the stories of love and loss in the Mexican-American experience, passed down through generations.

Her 1975 album, Prisoner in Disguise, included folk and country-infused ballads that read like poetic narratives, exploring themes of loneliness, hope, and self-discovery. Whether interpreting classic rock songs or traditional ballads, Ronstadt infused them with poetic depth, making her music not just a listening experience but an emotional journey.

Breaking Barriers and Musical Experimentation

Ronstadt’s career was marked by bold experimentation. She didn’t just stick to one genre—she explored rock, pop, country, opera, jazz, and Latin music, making her one of the most versatile artists of all time.

In the 1980s, she shocked the music world by recording a trilogy of traditional pop albums with Nelson Riddle, breathing new life into the Great American Songbook. Her albums What’s New (1983), Lush Life (1984), and For Sentimental Reasons (1986) introduced classic jazz standards to a new generation, proving that great music transcends time.

She also ventured into Broadway and film, starring in The Pirates of Penzance, which earned her a Tony Award nomination. In 1996, she recorded Dedicated to the One I Love, a collection of rock songs reimagined as lullabies, showcasing yet another facet of her artistic genius.

Honoring Her Legacy in Arizona

Even in retirement, Ronstadt’s Arizona connection remains strong. In 2022, the Tucson Music Hall was renamed The Linda Ronstadt Music Hall in her honor, recognizing her lifelong contributions to music and culture.

Though she retired from singing due to progressive supranuclear palsy, a neurological disorder initially diagnosed as Parkinson’s, she remains a powerful voice in the music industry. She has published memoirs, including Simple Dreams: A Musical Memoir and Feels Like Home: A Song for the Sonoran Borderlands, reflecting on her Arizona roots, music career, and cultural heritage.

Ronstadt’s Influence on Today’s Music Scene

Linda Ronstadt’s poetic approach to songwriting continues to influence new generations of musicians and poets. Her ability to convey deep emotions through song lyrics has inspired countless artists across multiple genres.

Her music is still widely recognized, appearing in films, television, and even video games. Songs like “Big Iron” and “El Paso” (which she famously covered) have been rediscovered by younger audiences, proving that her legacy is timeless.

Ronstadt’s impact on music, culture, and Arizona’s artistic identity cannot be overstated. She was more than just a singer—she was a poet of the desert, a voice of the Southwest, and an icon of musical storytelling.

Marty Robbins songwriter poet | AZpoetry.com

Marty Robbins

Marty Robbins: Arizona’s Balladeer of the American West

Marty Robbins, born Martin David Robinson on September 26, 1925, in Glendale, Arizona, was a prolific singer-songwriter whose poetic storytelling and masterful songwriting defined Western balladry for generations. Known for his evocative lyrics and rich narratives, Robbins brought the spirit of the American West to life through his music, making him one of the most celebrated songwriters in country and western history. Over his nearly four-decade career, Robbins crafted over 500 songs, including the timeless “El Paso” and “Big Iron”, both of which remain among the Top 100 Western Songs of All Time, as ranked by the Western Writers of America.

From Arizona Roots to National Stardom

Raised in Glendale, Arizona, Robbins’ musical foundation was shaped by the vivid storytelling of his maternal grandfather, Texas Bob Heckle, who regaled him with tales of the Wild West. His time in the U.S. Navy during World War II also played a crucial role in his musical development, as he taught himself to play the guitar and began writing songs while stationed in the Solomon Islands. Upon returning home, he honed his craft in Phoenix’s clubs and radio stations, quickly gaining a local following before signing with Columbia Records in the early 1950s.

A Songwriter with a Poet’s Heart

Robbins’ lyrics read like poetry, painting cinematic landscapes of gunfights, outlaws, and doomed romance in the rugged terrain of the Southwest. His most iconic track, “El Paso” (1959), a Grammy Award-winning ballad, tells the tragic tale of a cowboy’s love and demise in the titular Texas town. The song, with its vivid imagery and dramatic storytelling, became a cultural touchstone, covered by numerous artists, including the Grateful Dead and Elvis Presley.

Beyond his Western ballads, Robbins’ versatility as a songwriter and poet shined through in his diverse catalog, spanning pop, country, rockabilly, and outlaw country. Songs like “A White Sport Coat and a Pink Carnation,” “Don’t Worry,” and “Devil Woman” showcased his ability to blend poetic lyricism with mainstream appeal, earning him commercial success across genres.

A Lasting Legacy in Music and Culture

Robbins was not only a Country Music Hall of Fame inductee but also named Artist of the Decade (1960s) by the Academy of Country Music. His songs continue to influence modern music and pop culture, appearing in films, television shows, and video games such as Fallout: New Vegas. His songwriting remains an inspiration for modern country artists, proving that the art of poetic storytelling through song never fades.

On December 8, 1982, Marty Robbins passed away at the age of 57, but his music endures as a testament to the power of poetic songwriting. His ability to craft lyrical narratives filled with adventure, romance, and the spirit of the American West solidifies his place as one of Arizona’s most legendary poets in song.

Bob Dylan's Love and Theft poem by Dom Flemons | AZpoetry.com

Bob Dylan’s Love and Theft by Dom Flemons

“Bob Dylan’s ‘Love and Theft’ by Dom Flemons

well you’ve heard a lot of stories
I’m going to tell you one

love and theft

it was the 10th of September 2001
and I went to bed knowing
that I would wake up the next day and
consume the album which I had waited
four years to buy
love and theft
the newest Bob Dylan album which I had pretty
high expectations for because I really
enjoyed the Grammy Award winning album
which had preceded it but as you all
might have guessed my delusion of sleep
was ruptured by something I’m going to
get into because the world has already
looked it over satired it analyzed it
digested it and it came out as a commercial

all I can think of when I see these scenes is love and theft
I love life
I love people
I love children
I love America
even with all of its faults


it’s like a friend that you’ve known all of your life who has a drug problem
because you know something’s wrong
but you don’t know how to say something that’s going to make a difference


and theft
when I dropped the 20 bucks
and when I knew I was overdrawn at that bank
and I knew that charge was going to cost me
more than that CD ever did yes


and theft when I watched that body count going
theft of the lives that were taken but damn
I love listening to Bob Dylan
but you see with this album the songs are all right
but the man’s voice showed the 60 years that I until then never regarded
because he used to phrase the words so well on the old AM
but now the words just go together and they go into a continuous phase
and they don’t seem to make that much sense anyway
but damn who knew someone was going to take a plane
and they would but I’m not going to get into that
because all I can think of is love and theft

now I hear people say I hate America
I hate George Bush
I hate capitalism
and I hate
but you know what
I hate hate
but what does that make when you hate is all you do
is embrace the theft of love
the theft of Freedom
the theft of letting people learn from their own mistakes
the theft of condemning people for not feeling the same way about something that you do
just let them fuck up

I’m sorry but
unless your life is in their hands and
you’re on the scene just let them fuck up
because after more of a year of
hearing about who did this who did that
who Jihad is righteous which crusade are
we in this time goddamn I don’t know
what’s going to go on and random bombing
in Palestine 30 people were killed and
175 were injured maybe it’s with
Al-Qaeda maybe it’s was some terrorist
group that could be linked with Bin
Laden who was with Saddam Hussein maybe
I think that we were thinking about that
in the news

I don’t care cuz when I look around
and I see all these scenes and I see
this one thing that happened September
11th what happened it stopped the whole
world in its tracks all I can think of is
is how much did
love and theft truly cost?

Transcribed from the video “unknown title” by Poetry Slam Archive and Dom Flemons.

Watch Dom Flemons perform “Bob Dylan’s Love and Theft” on YouTube

About the poet Dom Flemons

Before Timothée Chalamet brought Grammy-winner Bob Dylan back into the cultural zeitgeist with the film “A Complete Unknown”, and before songwriter Dom Flemons received his own Grammy, he performed “Unknown Title” or “Bob Dylan’s Love and Theft” at the 2003 National Poetry Slam in Chicago Illinois while representing the Flagstaff Poetry Slam.

“Love and Theft” is a reflective, bittersweet meditation on the collision of personal anticipation and collective tragedy. In the poem, Flemons recounts the night before September 11th, 2001, a night filled with mundane plans, like eagerly awaiting a Bob Dylan album he had long desired, only to be abruptly confronted by the overwhelming reality of loss and change. The refrain “love and theft” captures the dual nature of human experience: the love we hold for life, people, and moments, juxtaposed with the theft of innocence, freedom, and memory wrought by unspeakable events. With a blend of humor and raw honesty, the poem critiques the commercialization of tragedy and challenges us to confront the true cost of loss.

Learn more about The American Songster, Dom Flemons, HERE.

Down Together by Roger Clyne and Refreshments Peacemakers poem lyrics | AZpoetry.com

Down Together by Roger Clyne

“Down Together” by Roger Clyne

We could write our names here in the mud
No one’s around to see them
We could hang our shoes right here in a tree
No one’s around to steal them

I could give you a star
You could give me one too
That way we’d be even
And I could sing this song way out of tune

And not care a bit about it
We could both wear cowboy hats
And pretend to speak Italian
Well I could eat some gum

And make my breath so minty fresh
To kiss you
Your breath will smell like wine
I like that a lot

Especially when I kiss you
And I could hit my funny bone really hard
And you could call me sweetheart

And who ever said there’s nothing new under the sun
Never thought much about individuals
But he’s dead anyways

So lets go down together
Down together
Down together
Together
Lets go down together
Down together
Down together
Together

We could all wear ripped up clothes
And pretend that we’re Dead Hot Workshop
I could drive long long way
And not even have the gas to make it
We could chase our shadows around
Till we’re both exhausted
I could forget the words just one more time
And hope that none of you notices

And who ever said there’s nothing new under the sun
Never thought much about me

What’s good for you is good for me
And what’s bad for you is bad for me
What’s good for you is good for me
And what’s bad for you is bad for me

Cars break and people break down and other things break down too
So lets go down together
Down together
Down together
Together
Lets go down together
Down together
Down together
Together

Watch “Down Together” by Roger Clyne and The Refreshments on YouTube

Listen to The Refreshments on Spotify

About the poet Roger Clyne

“Down Together” by Roger Clyne is a wry, reflective meditation on the beauty of life’s fleeting moments and the inevitability of its breakdowns. In the poem, Clyne opens with images of writing names in the mud and hanging shoes in a tree—simple acts that speak to our desire to leave a mark in a world where our impressions are often transient. His playful exchange of stars—”I could give you a star / You could give me one too”—serves as a metaphor for the balance of giving and receiving love, even when perfection is elusive.

One of the poem’s most memorable moments is when Clyne imagines, “We could both wear cowboy hats / And pretend to speak Italian.” Far from a mere quirky image, this line cleverly nods to the iconic Spaghetti Westerns—films made in Italy that reimagine the rugged mythos of the American West, a land Clyne knows well as an Arizona native. By invoking these cinematic references, he humorously underscores the paradoxes of identity and cultural expectation, merging the traditional with the irreverent.

As the poem unfolds, Clyne’s observations on everyday decay—“Cars break and people break down and other things break down too”—remind us that impermanence is an inherent part of life. Yet, amidst the disarray, there is a shared sense of resilience and togetherness, encapsulated in the repeated call to “go down together.” This refrain challenges us to embrace the imperfections of life and find solace in unity, even when all seems lost.

To dive deeper into the lyrical genius and creative journey of Roger Clyne, visit his full bio page on HERE.

Roger Clyne of the Peacemakers Refreshments poet songwriter | AZpoetry.com

Roger Clyne

Roger Clyne: Arizona’s Lyrical Storyteller and Cultural Icon

Roger Meade Clyne (born January 13, 1968) is a celebrated songwriter, lyricist, and performer whose work has come to define the musical and poetic landscape of Arizona. Best known as the lead singer, primary songwriter, and rhythm guitarist for Roger Clyne and the Peacemakers, Clyne’s creative output bridges the worlds of rock music and poetic storytelling. Although primarily recognized for his contributions to music, his lyricism—rich with narrative depth and cultural resonance—positions him as a true poet of the American Southwest.


Early Life and Arizona Roots

Born in Tucson, Arizona and raised in Tempe, Roger Clyne grew up immersed in the diverse landscapes and cultural tapestry of the Southwest. His formative years were a blend of suburban life and rugged rural experiences, as he frequently visited his grandparents’ ranch in southern Arizona. There, he learned the traditional values of hard work through riding horses, herding cattle, and fixing fences—a vivid backdrop that would later influence his poetic and musical sensibilities.

Clyne’s early exposure to life on the frontier instilled in him a deep appreciation for the land and its stories. His personal history, rooted in the heart of Arizona, continues to serve as the wellspring for his creative expression.


Musical Journey and Poetic Expression

Clyne’s artistic journey took flight during his years at Arizona State University, where he immersed himself in a Spanish language and cultural experience. While at ASU, he participated in a Spanish immersion program and even conducted ethnographic research on mariachis in Mexico City. This unique blend of academic inquiry and cultural exploration enriched his songwriting, infusing every album with authentic mariachi horns—a signature sound that reflects his deep connection to the borderlands.

Over the years, Roger Clyne has penned timeless lyrics that not only narrate tales of love, loss, and life in the Southwest but also celebrate the vibrant, eclectic spirit of the region. His poetic verses have transcended musical genres, whether in the catchy hooks of hits like the theme song for King of the Hill, the rousing victory anthem for the Arizona Diamondbacks (The D-Backs Swing), or in the introspective lyricism found on his band’s latest release, “Native Heart” (2017). His lyrics often read like poetry, evoking images of sun-drenched deserts, colorful border towns, and the timeless struggle between tradition and modernity.


Cultural Impact and Community Engagement

A true citizen of the Southwest, Roger Clyne’s work is imbued with the rich cultural influences of both Arizona and Sonora, Mexico. His frequent trips to Mexico, particularly to the beloved beach town of Puerto Peñasco (Rocky Point), have played a significant role in shaping his artistic vision. In 2000, his passion for the region culminated in the creation of Circus Mexicus, an annual four-day music festival that not only celebrates the vibrant music scene of Rocky Point but also hosts charity events like the Hot Dog & a Smile and the Rock & Beach Soccer Tournament. This festival has become a landmark event, drawing thousands of visitors and reinforcing Clyne’s status as a cultural ambassador for the Southwest.

Beyond music, Clyne’s contributions extend to various entrepreneurial ventures. He is the owner of his own tour bus, ensuring that his poetic narratives and musical stories reach audiences all over the United States. His business ventures also include a brand of ultra-premium tequila, originally known as Roger Clyne’s Mexican Moonshine Tequila and rebranded as Canción in 2021, as well as a part ownership in the popular Puerto Peñasco bar, Banditos.


A Legacy of Lyrical Brilliance

Roger Clyne’s enduring impact on Arizona’s cultural landscape is profound. His songwriting has become synonymous with the spirit of the Southwest—a unique blend of poetic narrative, authentic storytelling, and musical innovation. Whether he’s capturing the heartbeat of a border town or narrating the tales of everyday heroes, Clyne’s lyrics evoke the beauty, struggle, and resilience of life in Arizona.

His work not only entertains but also inspires, offering listeners a glimpse into the soul of the American Southwest. Through his poetic expression and musical collaborations, Roger Clyne has redefined what it means to be a storyteller in a region steeped in history and natural splendor.

Doug Hopkins Gin Blossoms poet songwriter | Azpoetry.com

Doug Hopkins

Doug Hopkins: The Lyrical Poet of the Arizona Desert

Doug Hopkins (April 13, 1961 – December 5, 1993) is remembered not only as the brilliant lead guitarist and founder of the Gin Blossoms but also as a songwriter whose deeply poetic lyrics captured the bittersweet beauty of the Arizona landscape and the human condition. Born and raised in Arizona, Hopkins’ work resonates with the raw, emotive energy of the Southwest, blending tender vulnerability with haunting imagery to create songs that are as much poetry as they are rock anthems.


Early Life and Arizona Roots

Growing up in the vibrant and rugged environment of Arizona, Doug Hopkins was deeply influenced by the stark beauty of the desert and the complex cultural tapestry of the Southwest. His early exposure to the natural splendor and the challenges of life in the desert instilled in him an enduring connection to his home state—a connection that would later permeate his songwriting. From a young age, Hopkins discovered a passion for music and literature, learning to see the world in metaphors and lyrical snapshots. This formative experience not only shaped his artistic sensibilities but also laid the groundwork for a career that would redefine the fusion of music and poetry.


Songwriting and Lyrical Brilliance

Hopkins’ songwriting is renowned for its evocative, introspective quality. His lyrics often explored themes of heartbreak, longing, and the complexities of life, all conveyed with a poetic sensibility that transcended conventional rock music. Songs such as “Hey Jealousy” and “Found Out About You” became emblematic of his ability to blend raw emotion with vivid imagery, transforming personal pain and hope into timeless verses.

His poetic prowess lay in his ability to craft lyrics that were both accessible and deeply moving. With a voice that echoed the melancholy of a fading sunset over the desert and the passionate intensity of the Arizona spirit, Hopkins’ work became a voice for those who felt the weight of loss, longing, and the perpetual search for meaning. His music was a canvas for his inner world—one where every line was meticulously penned, each chord struck resonated with raw authenticity, and the desert’s infinite beauty provided both inspiration and solace.


Trials, Tribulations, and a Lasting Legacy

Despite his undeniable talent, Doug Hopkins’ career was marred by personal struggles, including battles with alcoholism and personal demons that eventually led to his tragic early passing in 1993. Though his life was cut short, his legacy endures through the powerful lyrics he left behind. Hopkins’ work remains an enduring testament to the human spirit—a reminder that even in our darkest moments, there is beauty to be found in the act of creation.

Hopkins’ poetic songwriting continues to inspire not only musicians but also poets and artists across Arizona and beyond. His ability to evoke deep emotion with a few well-chosen words has cemented his status as a cultural icon whose influence resonates in every corner of Arizona’s artistic landscape.


Influence on Arizona’s Cultural Landscape

In Arizona, where the desert meets the soul, Doug Hopkins’ work has found a special place. His songs, imbued with the spirit of the Southwest, capture the essence of life in a land defined by both beauty and hardship. His lyrical legacy has influenced generations of Arizona musicians, poets, and writers who see in his work a reflection of their own experiences—of love, loss, resilience, and the unyielding passage of time.

Hopkins’ poetic lyrics have become a source of inspiration for those who seek to express their own truths. His ability to translate the complexities of the human heart and the stark realities of the desert into song has opened a path for a new kind of poetic expression in modern music—a path that continues to be explored by artists who call Arizona home.

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