By LA Weekly
By Henry Rollins
By Weekly Photographers
By Shea Serrano
By Nate "Igor" Smith
By Dan Weiss
By Erica E. Phillips
By Kai Flanders
They begin talking about the chimp idea, and one says, "We did talk to some people with chimps already. It really depends on what the budget is."
The band is listening, nodding along to all this, but the parents aren't so sure. "You haven't talked to any of us," says Colby's mom, Keely Pace, suddenly. "And because they're kids, they don't really finance anything."
The meetings have not been enlightening. Nothing is decided today. Robert Pace has been through this process, and has seen it happen with other bands through the years, too often ending up in disappointment or disaster. Some groups never recover from one bad mistake. "It's hard," he says later. "I've been around for a while, and you always want to make the right decision for the band, make sure you're not shooting yourself in the foot. It comes down to: Do you trust what they're saying? Sometimes it's pretty obvious you don't want to work with them, and sometimes it's a tough call."
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He'll soon meet with the band and convince all concerned that making a video now is premature. There is no album yet. Work on Rue-Lynx's debut begins this month, and that much at least is under their control.
"They're young. They've got time," Pace says. "They can't get too discouraged if things don't work out."
Earlier, I had asked Robert Pace about the band, and how far his 1981 version of Rue-Lynx might have gone with the resources this new band of teens now enjoys. The parents all contribute to their fast-growing expenses.
"You mean with the studio and all the support of the parents and ... ?" He seems almost stunned by the question. That level of support was incomprehensible in those days. "Wow, I don't know, I don't know."