Scott and Carrie

Scott plays bass for Letters of Acceptance and also does solo recordings/shows under his own name. He also plays with a variety of other projects (including Sister Ray, The Binders, Battersea Station, and Second Hand News). He is currently recording an instrumental record in his basement, with various online collaborators.
Scott: “When COVID hit, I had a bunch of things in the works: I was in the middle of tracking a record with my main project, Letters of Acceptance. I was also working on a new set of solo recordings with my friends/collaborators Robby Cosenza and J Tom Hnatow. I had grant money to support some work; I had a bunch of really fun shows in the queue. And then everything pretty much shut down.
I’ve been figuring out ways to collaborate and create that, while not ideal, help keep projects rolling. But I miss live music. I’d likely break a tooth to play a show
In the end: independent music venues and touring musicians need massive support—now more than ever. There’s lots of ways to contribute to such causes.”
Carrie: “When writing is going well for me, time slows down for a bit and I can forget all my own worries and all that is happening in the world. This process of creating new work was much easier for me at the beginning of the pandemic, when it felt like there might be an end in sight.
Now, of course, we know there’s no clear end in sight. It feels impossible to shut out the world, and perhaps that’s as it should be. Now is a time for me to listen and reflect and engage. As Scott would say, it’s also a time to fill the well.
While I’ve struggled lately to write new poems, I still have so much to be grateful for: my first book comes out in December; my writing group continues to meet online; and Scott and I both have jobs we love. I’m especially grateful that so far my family and friends have remained healthy.”

Lexington in the Time of COVID-19 is an artwork about people practicing social distancing at a time of a deadly virus. And also offering kindness.

Kurt Gohde and Kremena Todorova capture photographs at the periphery of American culture, where drag queens, discarded couches, and abandoned motel signs exist.