Tag Archives: Robert Frahm

Arts

Scene&Heard: Divine Carama

Music isn’t just music for hip hop artist Devine Carama, it is everything. It is the backdrop to his drive, to his work, and to his life. He raps about a mission that he believes with all his heart, and his life’s work reflects that daily.

Friday night, the first of December, a diverse group of musicians took the stage at The Burl to embody and play for Devine’s mission about community. His non-profit Believing in Forever was hosting a Coat to Keep the Cold Away fundraiser that night, sharing the donations with The Nest and the Reindeer Express. All the funds for the show went to the charities, and cover could be paid in a new coat or toy for donation. The trade off for the act of kindness was a line up of some of Lexington’s finest musicians, boasting a wide variety of genres of high quality music.

Robert Frahm started the night with his tight guitar slinging skills, followed by Sunny Cheeba. Joslyn and the Sweet Compression went next and set the stage for Devine Carama, the headliner of the show and the organizer from the Believing in Forever non-profit. Devine Carama was followed by The Summit and the Johnny Conqueroo. Devine was on the other side of having recently performed a 24-hour Hip Hop for Hope marathon in front of the Fayette County Courthouse.

For the past four years, Devine Carama’s winter season has centered around the Coat to Keep the Cold Away campaign. The first two years, his organization raised funds and collected coats for low income kids and families in the Central Kentucky area. Last year they expanded to Eastern Kentucky as well and bought and delivered 1500 coats to kids who needed them. This year, the requests reached nearly 2800. So Devine went to work. He did the 24 hour marathon and raised almost $4,000 for new coats, but it wasn’t enough. Thus, the beautiful night of music at The Burl that Friday evening.

Joslyn and the Sweet Compression are a great act to follow. They always leave the crowd happy and moving and loving life and everyone in it. From there, Devine took the stage solo. His DJ wasn’t able to be there that night, so he used pre-recorded beats as his backdrop. He did a short intro about who he was and why were were all there that night, and then, he let the words go. Oh man, all those words…

Divine Carama | Photo by Derek Feldman

For twenty minutes Devine Carama slayed lyrics upon lyrics. His rhymes were tight and flowing and talked about so much, about what is real. About life on the streets and about poverty and disenfranchisement and unarmed black men getting shot and community and Africa and about so much. His lyrics are dense and vast and you follow along with him, line by line, as he tells you what it’s all about. He calls to the crowd and they answer along, following the beat with him, moving in time to the rhyme.

“Poetry and lyrics are so important for me…” Devine commented, speaking of the early days of hip hop and of “Diverse complex parallel rhyme schemes, when it really mattered, and substance.” He wants his lyrics to speak about the truth of the struggles he sees in his community and America daily, “things that are going on in the world. Charlottesville, a lot of unarmed black men dying, Trump in office. You rarely hear them mentioned in hip hop. I come from the era of Public Enemy and NWA” when hip hop artists spoke out against the subjects that “will be in the history books.”

His lyrics are packed full of these themes. It’s astounding, how someone can remember all those words, to stand up there and preach and say all the lyrics with emphasis and pathos. To remember and to move, to instill the message in the hearts of the crowd below. The fog on the stage mixed with the cold air from outside and swirled around Devine as he shared his poetry and his passion with the room. The bass bounced against the walls and moved The Burl to a beat it wasn’t as familiar with, and it liked it. You could tell. The room danced that night, from one performer to the next, and the feeling was real good.

Taking a break after twenty minutes, Devine spoke to the crowd about his non-profit, Believing in Forever, which was founded in 2014. Their mission is to inspire education, community service, mentoring and expressive art. They hold nine in-school mentoring programs, called Impact 859. Sons of Single Mothers is another aspect, which recently received a grant from State Farm. They also hold Youth Open Mics, do Philanthropy projects such as A Coat to Keep the Cold Away, motivational youth speaking, and mentoring. They try to inspire strength in the next generation in ways that are “a little different than the norm.”

Mainly, Devine Carama wants all the forgotten, disenfranchised folks out in the community to know that there are people who do see them, who do care. Those are the people he raps about in his hip hop songs, those are the people he works tirelessly for to give them the comfort of a new, warm coat that fits well, and the comfort of taking the time to help with homework, and mentoring them through the difficult choices and consequences life brings. Even free haircuts earned for good grades. And a place to express themselves through spoken word and song as well. All of these things build community, and community is what Devine is all about.

Believing in Forever had a goal to reach, those 2800 coats that had already been requested from all over central and eastern Kentucky. The goal was not quite met after Friday night, so, driven as he is, Devine committed to another hip hop for hope marathon. This time, for 48 hours. For two days straight he would sit outside in the cold and rap his hip hop lyrics every hour, on the hour, for twenty minutes or so each time. Even in the cold, dark night, at 4 and 5 am, he was out there rapping. That was the point, he commented, “The commitment- even when there’s not a lot of people around. [It] symbolizes those families that are struggling that not everyone knows about. Every hour on the hour…Every hour.”

I sat with Devine outside the courthouse during hour eight of his 48 hour marathon. It was a sunny day at 3pm, but the wind was blowing cold, driving the dry, dead leaves around in circles, and after thirty minutes I was frozen cold and couldn’t feel my hands. He had forty more hours to go. He rapped outside to the traffic driving by. Folks honked in support, or walked by to greet him and shake his hands or donate to the cause. Kentucky Secretary of State Alison Lundergran Grimes stopped by to visit. And there were several interviews — including mine: 

Music is a strong force within a community. Whatever the genre, it can move people to act and to gather and to commune. When that music is joined with action, it can move mountains. Devine Carama channels his music from his soul, and imbibes it with his passion for community. When he puts that music to work for his beliefs, magic can happen. The magic of a kid getting a great new coat for Christmas, and the relief his parents or guardians feel with the gift of a stranger. The magic of a kid who passes a tough test because members of the community spent their free Saturday with him, working hard on helping him pass. When he does, he gets rewarded and praised and gets a new haircut. These are the differences that matter, this is the real magic of community. Devine Carama embodies that in everything he does.

“With the music I think its always about unearthing truths or emotions that are often suppressed in hip hop music. I’m an agent of change when it comes to that I am the voice that you don’t normally hear in hip hop music. The boy that doesn’t have a father, the young teenage girl who was molested. The underserved black kid that lives in a city that 90 percent don’t look like him. I want my music to be that, and I want my music to be uplifting to those who don’t have a voice.”

At the Burl | Photo by Derek Feldman

Arts

Scene&Heard: This Was What They Wanted

I was 18 when I bought my first Leonard Cohen tape and slid it into the car stereo of my Dad’s old Buick. Was This What You Wanted? began to play, and the whole world of one naïve Catholic Italian girl from Buffalo changed.

Music has that power, and that whole tape of the album New Skin for the Old Ceremony had a powerful influence on me as an audiophile. Lyrics suddenly became the most important part of a song, and Cohen was certainly one of the great sages of lyrical construction.

On the night of the election when I opened my newsfeed and learned that the great poet had gone to his reward, as my mother says, I felt an immense grief. I had to do something.

My simple Facebook suggestion to put on a show in tribute to Cohen resulted in a rapid response from musicians in town interested in getting involved. Clearly, so many of the local musicians I admire were as brokenhearted as me over the loss of this great, influential artist.

So, I found myself organizing a Leonard Cohen Tribute at The Burl, where my friend Bryan Minks gave us a Monday night to simply have a stage where we could pay tribute to a man to whom we all felt a strong musical connection. We decided to pass the hat for donations, and someone suggested we send anything collected to Standing Rock to help the water protectors in their struggle. The event began to take form.

The 28th of November was a damp and dreary night in Lexington, Kentucky, and the UK Wildcats were playing on tv. I wasn’t sure what to expect for turnout, but the room was already filling at 7:30. I placed candles on the tables as promised, and the first band began setting up. The intent was simply for each singer or group to choose two Cohen songs, perform them in their own way, and we would hopefully move smoothly from one set to the next, working Nolan Dunn too hard as he skillfully modified the soundboard for each different performer.

The Northside Sheiks (photo above) started the night with their signature blues vibe, Willie Eames giving his style to Almost Like the Blues and Slow with Lee Carroll on accordion, Smith Donaldson on Bass, Robert Frahm on guitar and David White on drums. From there, the packed house listened to a steady stream of great Lexington area musicians: Chris Sullivan, Warren Byrom, Brian Combs, Bryan Minks, Keith Rowland, Doc Feldman (with a little bit of help from yours truly), Eric Cummins, Chelsea Nolan, Josh Nolan, Derek Spencer, Ben Aubrey with Trinity Curtsinger, Rob Rawlings and Alex Parkansky. And then came a duet on strings with Elias Gross on viola and vocals and Richard Young on Bass, which grew into a trio that added Anna Hess on violin to back Kevin Holm-Hudson on keys when he led the entire group in Cohen’s Hallelujah to end the evening.

The night proceeded exactly as I had imagined it: candles flickered, people in quiet conversations between sets. When each performer began, the entire room hushed, even with the game on mute back at the bar. With the two songs they had chosen, each artist blended Cohen’s brilliant poetry with their own style and instrument to make it theirs.

“I’m always pleased when somebody sings a song of mine. In fact, I never get over that initial rush of happiness when someone says they are going to sing a song of mine. I always like it,” the late Cohen once noted in an interview on Pacifica Radio. “That song enters the world, and it gets changed, like everything else — that’s OK as long as there are more authentic versions. But a good song, I think, will get changed.”

He knew, of course, that his songs would live on. He even told us so in Tower of Song. Each artist or group of artists paid homage to Cohen that night, as candle flames flickered and the rain spattered against the windows. The Roll n’ Smoke food truck was parked outside, and the tangy aroma of barbecue floated through the Burl blending nicely with the fragrance of candles.

The audience was treated to a wide variety of genres as each artist individualized Cohen’s songs, piecing together the entire crazy quilt of the evening. From the Sheik’s blues interpretation to Bryan Mink’s Tower of Song with that country metal edge he has, to Chelsea Nolan’s booming vocals to Alex Parkansky’s drone metal guitar lifting Cohen’s music to surreal levels. Then the night went to strings, and the room, still nearly full even at 11:30 p.m. on a dark, wet Monday night, melted with the candles as all the singers took the stage once more to back Kevin Holm-Hudson in Hallelujah.

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We all sang along, barely able to hold back during the verses as we harmonized into the chorus. I felt like I was in church again, the candle light blurring past the strings in front of us, the keys played perfectly as each of the seven verses guided us along. The crowd joined in too – everyone knows the words to this iconic song – and that room full of gorgeous wood and candles and people who simply love great musical poetry, that room rang with the collection of those voices. No voice was distinguishable from another. And then the last chorus was sung, and Kevin paused for just a moment of silence, and ended the night with those two words that took all our breath away: “Goodnight, Leonard.”

We raised a total of $700 for the Sacred Stone Camp at Standing Rock. My friend Psera Newman, Direct Action Trainer for the Lexington Chapter of Greenpeace, took the stage twice and spoke to the audience about her time at Standing Rock, and why she chose Sacred Stone Camp as the appropriate recipient of contributions, describing it as the beating heart of the body that is the Standing Rock resistance.

Folks were unbelievably generous all night long, and the money order to Sacred Stone is en route, along with a letter I wrote to the leader of the camp, Ladonna Brave Bull Allard.

I am so proud of Lexington. I am so proud of all the musicians who took the stage that night, who took the time out of their lives to learn new songs and perform them and support each other simply to do it. For the love of the music. To show respect to someone who devoted their life to creating beauty and art for others to love. And to share the effort in the form of charity, for others who really need some help right now.

Goodnight, Leonard Cohen. Thanks for the beauty, sir.

(Credit: Derek Feldman, all photos and video.)


The Set List:

1. The Northside Sheiks- Almost like the Blues, Slow

2. Chris Sullivan- Famous Blue Raincoat

3. Warren Byrom and Chris Sullivan- Suzanne

4. Brian Combs- The Butcher, Heart with no Companion

5. Bryan Minks- Tower of Song, Is this what you wanted

6. Keith Rowland- The Stranger Song, Bird on the Wire

7. Derek Feldman w/ Cara Blake Coppola- You Want it Darker, There is a War, If It Be Your Will

8. Eric Cummins- Tonight Will Be Fine, Darkness

9. Chelsea Nolan- On the Level, One Of Us Can’t Be Wrong

10. Josh Nolan- Alexandra Leaving, Diamonds in the Mine

11. Derek Spencer- So Long, Marianne, Steer Your Way

12. Ben Aubrey- Dance Me to the End of Love, Here it Is

13. Rob Rawlings- Iodine, Paper Thin Hotel

14. Alex Parkansky- The Future, Waiting for the Miracle

15. Elias Aaron Irving Gross- Chelsea Hotel

16. Kevin Holm-Hudson-the Runaway Horse, Hallelujah