#they argue like they've been married for 40 years

[domesticatedpigeonsoup]

movie howl: that's my girl! sophie you're hair is so pretty, i want to protect you and love you forever

book howl when sophie wants to clean his room:

[hitohitonika]

I don't see many people talk about Zoro being absolutely soft with Sanji once they get together. Like sure, they still argue and spar, etc, but Zoro is a protective and devotional person. The moment they start dating, he treats Sanji like they've been married for 40 years.

He might be gay af and consider tradition a detriment, thinking about Kuina here, but he still grew up in a traditional village and likes to do all the things he saw husbands do for their wives growing up.

He picks up flowers for the kitchen, he takes care of Sanji's knives, he carefully folds his clothes when he's on laundry duty, he uses cute nicknames when no one can hear them, he bathes and puts on cologne when they have a date...

Of course, Sanji, the man in love with love, would be shocked when he first realizes Zoro is an absolute sap and has many internal conflicts about it because he's not used to love himself but Zoro is so stubborn about it he's forced to learn to like it.

[thetrolltolls]

they argue like they've been married for 40 years

[mossyivy]

Okay—I really need to know this because it’s been keeping me up all night pookie…This is just my guess! But we can alter the story any way! MENTIONS OF ABUSE (KINDA)!!!

I feel like Chris’s now wife was in one of those situations where she got married extremely young, I’d say about 20-22? Maybe even a little older. But I feel like that’s one reason she was in such an abusive and toxic marriage. Her and her now ex husband were still young, probably had a baby not to long after, and that’s when I think the abuse really started.

It wasn’t long after their little ‘honeymoon’ which was really them just having time off from work and staying home all day. He’d start getting a bit manipulative and toxic, then as you advanced into your pregnancy, I feel like that’s when all of the real serious things started to happen. It would be over the most random and small thing too. She accidentally dropped a glass while washing the dishes? He’d get into his screaming fit, going on about how she was useless while she stood there like a scared puppy, trying her hardest to apologize and defend herself only to be met with a slap on the face.

Ollie was only a year and a couple months when you finally had enough, dropping everything and leaving your shitty husband. You’d spend all day working, taking extra shifts to make enough to atleast put away for a tiny apartment for you and Ollie. Yelling at Redfield all night for him to take your orders and STOP GETTING HIMSELF IN TROUBLE!!!

Chris was born in 1973, technically making him like…51 or something in 2024 😳. (I ❤️ Peepaws.) He’d be 48 in RE8 and around 40 for Death Island. I feel like him and his wife would have an age difference. Let’s just say she got married at 24, + 1 year for the pregnancy with Ollie and how long it took to conceive. 25 + 15 (Ollie’s age basically) she’d be around 39/40ish in 2024? Correct my math and lore if I’m wrong yall…

AND GIVE OPINIONS!!!!! If you don’t agree, I totally understand! <3

- Anon! 🎀

(Jesus Christ this is so long I'm sorry I went crazy 😅)

(Edit: fixed some timeline inconsistencies and pin pointed that Chris and his future wife physically met sometime between August-October of 2010.)

Correction: Chris is 42 in DI cause it's set in 2015.

If your math is matching right and by the ages of the kids they met sometime in 2011ish, So he'd be 38 and if she got married at 22, waited to have a baby at 24+1 for the pregnancy and 1 more year for the time frame of her leaving Turner (yes her ex-husband gets an ugly name). She'd be 26 when they met.

11 years difference

(fun fact, my parents were 11 years apart from each other lol)

So if our girl math is girl mathing yes, it be 51/40 (Cradle robber Chris. Jkjk that's not even that big of a gap imo)

Which is hilarious because that would mean she's younger than Claire too... By 5 years. But y'know. People can find love at any age. Plus there's benefits to loving an older man. They know what they want (most of the time)

As for the previous marriage! (CW: Baby trapping and abuse in a varieties of ways) (Also, there's literally no excuse to abuse your partner...)

They definitely got married young, probably met in college and decided to get married after she graduated (he's like a year or 2 older than her). Turner's got some fancy business job that makes him stressed constantly and he's away a lot so she didn't get to see him often.

She's got a degree in Public Relations and knows a few languages as she took elective courses to make her resume look all that more sparkling when graduating. And so she shot high, applying for a lot of jobs (it's about 2006 at this point so the job market isn't that bad) she gets a lot of offers.

She ends up taking some assitant position at a relator office and the market crash is 08 pretty much made her job vanish. So she's unemployed and solely relying on Turner. Which is fine, he's doing well and they have a good income. Nothing to worry about too much. But for ages now they've argued and it got really heated. Got in each others faces. But she loves him so she stays. But her patience is waring thinner and thinner by the day.

She gets pregnant and he's just... Awful. Manipulative and making everything out to be about how this is going to solely affect him. (Even though he most definitely got her pregnant on purpose so she'd have no choice but to stay) But she debates on keeping the baby and eventually Turner tells her she is. Doesn't even let her think otherwise after that, love bombs her because it's noticeable she has one foot out the door. But even after that she's on edge constantly. Flinching at the slightest knock or slam of a door because she thinks something's wrong immediately.

Turner still argues with her, has escalated to calling her a worthless cow by now. Telling her all she's ever been good for was giving him the son she's pregnant with. Eventually he goes away for business and she tries gaining some sense of independence. So she gets a shitty marketing job where she basically calls people all day and gets hung up on. July 2009 rolls around and Ollie's born. Turner makes her quit her job so she can take care of the baby. Complaining about how they can't afford daycare right now.

So she complies... Quiting her job. Things got worse and worse from that point on. This is when the physical abuse starts. They're fighting in the kitchen and Ollie's asleep in his room. Turner comes in from work and they start going at it. Ollie wakes up and starts crying over the baby monitor. Immediately she's going to see what's wrong and the argument shifts to her mothering skills and how Oliver seems to be getting too reliant on her. So she spits back at him about how if she had some help it wouldn't be like that.

Turner slaps her, she's shocked. He actually put his hands on her. He wedges her between the babys bedroom door and his body. His hands gripping her hard enough to bruise. Gritting his teeth as he threatens her. Telling her if she ever talks to him like that again he'll do a lot more than just a simple slap. He let's her go and tells him to shut the baby up.

So she goes into Ollie's room and consoles him and she starts silently crying herself. Realizing the severity of everything now. She can't stay, that was just the first time and if he'd do that feet away from the baby imagine what he'd do in front of him...

So she start slowly warming him up to the idea of getting a job again. To help get Ollie in daycare or even a nanny so they can get out of their apartment and into a house with enough space. Turner agrees, letting her look for a job. She applies for a job as a communications team lead at the BSAA. It sounds like an easy enough job. And she's over qualified. Saving up for nearly a year all while taking countless instances of abuse verbally or physically.

She gets the job easily. Ends up setting up her checks to go into her friends business account and transfer her paychecks into a separate account because she lied to Turner and told him she got a job with her friend so it be "more secure" and less likely to be fired. He buys it. She slowly pulls money out of her second account and hides it in the babies room until he goes on a business trip for work.

Literally packs all their stuff in the back of a moving truck and goes to Bella (her best friend since highschool) begging for the help she needs and of course she takes them in...

She's finally out of that hellhole. Slaps him with a divorce filing not long after. Getting a push from the countless police reports they'd had filed over domestic disputes. No need to wait to separate. But the divorce takes time itself.

She takes night shifts, switching spots with the night shift lead because it's higher pay. The only thing that she hates about the job is the people she has to deal with. Especially with the Alpha team leader who frequently talks over her or orders his men to shut comms off in enemy territory when it's literally her job to relay information. You strictly deal with this Redfield guy only...

Well each team lead needs to join a special meeting with the BSAA'S UN ambassador to go over how each department is doing. So you're all sat around this long table and they slowly introduce everyone as each department or team head stands up and talks about everything. It's your turn, you stand and introduce yourself. Talk about everything that's been happening since your shift change and each teams performance could use improvements. But this absolute brick wall of a guy 3 seats down is just staring... Intensely...

Everyone is staring, they're supposed to when someone's presenting. But his feels different. Almost like you're an exhibit and he's a patron of some kind watching you in your natural habitat. You sit, being thanked by the ambassador as he moves along the table. Eventually landing on the massive guy.

The words "Alpha team leader" leave the ambassadors mouth as this bear man stands up. He's so tall... Built like a buff rectangle... He talks, introducing himself as Chris Redfield.

Of course... His name would be something douchey like Chris. He's just talking and you can't help but dig your nails into your hands he's so irritating. Eventually the meeting ends and you're saying your goodbyes as you leave the meeting room and who's waiting at the elevator.

Redfield... Of course.

You really can't help yourself at this point, this man's been on your nerves for the past 2 months now. You need to say something. So you stomp towards him, pulse beating in your neck the longer you look at him.

"Hey asshole." He turns his attention as you walk up to him. He looks down at you, the size difference being almost laughable as you glare at him.

"H-"

"You got a lot of fucking nerve talking to me like you do sometimes." His eyebrows raise and lips part, about to say something when you cut him off.

"Whatever you're about to say, save it... My job is to relay information to your TEAM, not it's captain. I'm supposed to keep you and your squad safe and informed. You aren't letting me do my God damn job."

You jab a nail into his chest, poking hard.

"I need this job. My money goes straight from my wallet into my babys mouth and I'm not gonna be the one explaining to him why mommy can't feed him because some... Some giant, steroid obsessed... bear looking man can't keep his mouth shut! So do us both a favor, shut the fuck up and let me talk to your team."

You take in a breath and he stares wide eyed and almost amazed by your display of forwardness. The elevator dings next to him as he makes some kind of "um" sound. But you don't care what he has to say, you just push past him and decide to take the stairs down.

Your next shift you come in to your desk to a bouquet of flowers and a hand written apology from Chris himself. At the bottom his phone number is scribbled next to his signature. With a 'P.S. If you ever need anything, don't be scared to reach out.'

[twistedturnstill]

Turtle Temper

Raph x Y/N

Vic, my stepfather, was a 47 year old man who smelled like trash, beer, and had a horrible temper. He had a beer gut that was only half covered by his greasy slimy tank top. He was disgusting. Not only that but he was verbally abusive and often physically too, even add in some sexual harassment.

I honestly have no idea why my mother married him. She's about 40. They've been married for like 5 years now after my dad passed away. She always says he was different before and decent but those are just fairy tails. Vic now has quit his job and has my mom working full time to get him everything his heart desires. This arrangement leaves me home alone with him like 90% of the time.

Today my routine was different though, meaning I got home late at night. Boy did I have a surprise waiting for me. I got to my apartment, at first seeing no one.

Guess moms working another late shift, I thought.

After looking in the living room and seeing no one I heard him. Vic was up on the roof yelling at some poor soul, about what sounded like our T.V. not working. I run up there pushing open the door to the roof nearly running into the back of Vic.

"Which one of you slimey green hamshanks broke my satellite dish?!" Vic yelled.

I move to the side of him to get a better look. When I do what I see is four, I think human like creatures.

"Hamshanks?!" The one with a red masked yelled angrily.

"I don't even know what that means!" Said the purple masked one.

"Me neither, but I don't like it!" Said the red one, starting to look dangerous.

He was readying to grab some sort of weapon when the blue one calmly said, "Let's go."

They turned to walk off but only made it so far. Vic just had to get in more.

"That's right you spineless cream puff listen to your mommy!" Vic yelled out mockingly.

The red turtle looked to be struggling greatly with self control now.

"Vic knock it off! Leave them alone already!" I finally yelled at him.

Three of the four turtles looked back surprised. Guess they didn't notice me, I thought. However, the red one turned back with his sias out and pointing at Vic.

"Hey! Watch it buddy!" He said.

"Oh no! I didn't know you had salad tongs!" Vic cried sarcastically.

"Salad tongs!" The red turtle lunged at him only to be stopped by one of his brothers holding him back.

I jumped back in surprise, "Vic let's go! Leave them alone already you big jerk!"

Vic didn't take well to this. He turned to me grabbing my arm,to hold me up by, saying, "Don't you talk to me like that you little brat! You got no business being up here anyway, much less telling me what to do!" He kept getting closer to my face. "Also I already told you that my names not Vic to you. Now get out of here you bratty pig!" He shoved me back.

This caused me to go flying back tripping over the edge. Vic went straight back to arguing and taunting the angry turtle. I would have fallen right off the edge if it weren't for the orange clad turtle catching me.

As he pulled me up he said, "Names Michelangelo. Are you scared of us?"

"Thank you for catching me er saving me or whatever!" I exclaimed as both my feet touch the ground, "Don't get me wrong you guys are kinda freaky but I mean you just helped me."

The small talk was ended quickly. The red turtle was still threatening and tearing into Vic when a purple laser shot thing stopped all talk.

"What was that!" I yelled

"Kraang droids!" called the blue turtle.

"Holy tolito!" Vic said stepping back in shock.

"Way to blow our position Raph." The blue masked turtle grumbled to him.

The four turtles all got out their weapons and took stances to fight. The fight quickly ensued. I slowly started to move to the stairs out of the way, trying not to be noticed. It seemed to work. Vic ran there as well taking his phone out to record. This made me move behind the stairs instead.

"Holy cow there some kinda, kung fu frogs." Vic commented.

I had to admit, there skills were amazing. They each took out at least one guy. They were doing really well, only a few were left standing.

Then Vic had to ruin it, "Keep going kungfu frogs! This is pure gold!"

The men in black escaped while the turtles were distracted. I came out from behind the stairs standing next to the opening in which Vic stood.

"We're not frogs you idiot!" The one called Raph yelled.

"Yeah! And it's not kungfu, it's an ancient Japanese batal art!" Yelled the purple one.

"Guys he got us on video!" The blue one said bring them both down.

"Vic delete that video or give them your phone or something!" I said taking a few steps closer to him.

Raph was starting to look completely enraged, "Not for long he doesn't." With that Raph launched himself at Vic.

I jumped back out of the way, tripping and falling straight on my butt. Vic seeing this coming stepped inside and slammed the door. Raph slammed right into it, sliding to the floor. He got up quickly however jumping back a bit.

"Haha, I'm gonna make a fortune off of this!" Vic said through the door seemingly walking down the stairs

I stood up dusting myself off a bit. Raph looked about ready launch himself at the door again, this plan was quickly interrupted.

"Firetrucks on route. 30 seconds!" The purple clad turtle yelled.

I just kinda stood there mildly dumbfounded listening to them. They were so quick and functioned rather well, except for Raph I guess.

"Let's move!" The blue turtle cried.

"I'm sorry I couldn't help more." I said just before he took off.

"It's fine, I just, please don't say or tell anyone about us. Even try to get it off his phone or something." The blue turtle said preparing to leave, "Oh by the way names Leonardo."

With that he left as did the others leaving Raph.

"Wait we have to find that guy and break his phone! And his face!" Raph angrily said. He didn't seem to notice me at all and he quickly left too after realizing he'd been left.

I just stood out there kinda stunned. I can't believe that just happened. How did they, just understand and accept. I wonder what they were doing. How they came to be. Ultimately I was confused. I went inside still thinking to myself and questioning all life itself. Traveling down the stairs quickly I made it to my apartment. Vic was on the phone with someone in the living room. Mom looked to have just gotten back, collapsed on a chair looking exhausted.

I gave my mom a quick kiss telling her I was going to bed. Heading to my small room that was littered with character sketches, book notes, homework, and clothes. My bed was pushed up against the wall next to the second window in the house, with a nightstand at one end and a desk at the other. I picked my way over to my desk moving my laptop to the side I grabbed out a little journal and one of my calligraphy pens.

Turning the lamp on I began to write. I wrote about the days events, checked off goals I'd completed and made a few new ones. After I finished I cracked my window open a bit and flopped into bed pulling my blue and green covers around me. It wasn't long before I fell asleep after that.

[auskultu]

Yardbird Jimmy Page says, 'Open Your Mind'

Hit Parader magazine: WHEN YOU were a session man, were you playing bass or lead guitar?

Jim: Lead guitar.

HP: Was it difficult to switch to bass when you joined the Yardbirds?

Jim: It was at first because I tended to play it like a guitar. With the bass you just play a sort of root thing. I was just leaping around all over the place with great speed and I had to stop doing that. I managed to simplify it. But at first I was playing far too quickly.

HP: I read somewhere that you were going to play lead soon?

Jim: I already have because Jeff was taken ill. Chris took over bass.

HP: Who were some of the other people you have accompanied?

Jim: Them, the Kinks, Georgie Fame, I did some stuff for the Rolling Stones. Actually, we just did a lot of things for fun for Andrew Oldham. In fact, it really was good fun. But I've never been on any of their records. I was on the Who stuff. Petula Clark, P.J. Proby. Nearly everybody who didn't have their own backup group.

HP: How would you describe your style of guitar playing?

Jim: My style has always been very similar to Jeff Beck's. We knew each other for about 9 years. We've always liked the same music and we had the same tastes. As a result, it's been quite easy to fill in for him. When we get the two lead guitars going, it should be pretty good. Because it'll be like two identical people playing together.

HP: What's your opinion of the Paul Butterfield Blues Band?

Jim: I haven't seen them live. But their album is pretty good. As a harp player, Butterfield is really great. He's better than anybody in England. Lots of people speak of Mike Bloomfield, but there are a lot of guys in England who play that stuff.

HP: Beck is an excellent guitarist, but why isn't more of his solo work heard on records?

Jim: How far can you go? We've been told our latest album is too far advanced. There's too much electronic stuff on it. But I think it's all basic. We cut a single with Jeff. It's a Bolero thing. It's very exciting and strange. It's either going to be a monster or a bomb. It's an instrumental based on the classical Bolero piece. Beck's guitar-playing is exploited quite a bit there. But how much can you do that the public will accept? You either make a commercial record or a musicians' record. You've got to draw the line somewhere.

HP: Are there some good blues bands in England?

Jim: There's one called John Mayall's Blues Breakers. Mayall himself is terrible. And then Eric Clapton is good, but he's in the Mike Bloomfield bag, and that's that. And there are lots of good guitarists in minor bands.

HP: Would you say blues is still a big rage in England?

Jim: No, not really. It's still got a market; it's the same thing as in America.

HP: Are you basically a blues guitarist?

Jim: Before the Indian thing was exploited, everyone said I played like an Indian. Mainly because I was interested in the music so many years back. I had the albums and I sent to India for a sitar. I had one long before George Harrison. I tried to learn the actual classical music. It's very difficult. There are so many sides to it. I tried to adapt that to my guitar playing.

HP: Why have musicians latched on to these Indian sounds?

Jim: Because it's so esoteric. Everybody thinks they understand. They get a new sound and they say this is it. But really, they don't know what's going on, I'm sure. I've heard people in groups playing sitars and they don't know what's going on. They don't even tune them up right. Apparently, George Harrison has become deeply interested in it. He plays a sitar on their new album and he was getting along very well. People like Brian Jones just got it for the one record and I doubt if they'll ever use it again.

HP: There are a lot of Indians living in London, aren't there?

Jim: Yes, there are quite a few. Strangely enough, when you speak to them of Indian music, they don't seem to know anything about it. The only thing they know is the western music or the Indian film music, which is completely different from the classical. When you ask them about it, they recommend you to the Asian society or something. I met Ravi Shankar and that's how I got my information on how to tune up the sitar.

HP: Will you be writing material for the Yardbirds now?

Jim: With them, not for them. When one of us has an idea, we all chip in on it until it's finished. I wasn't on the last two, but 'Shapes of Things' and 'Over, Under, Sideways, Down' were all made up in the studio.

HP: What kind of equipment do you use?

Jim: When Chris is on rhythm guitar, we use any old amplifier because it isn't that important, but on bass we have a big set-up with 2 or 3 speakers.

On this tour, we've been given Jordan equipment. It's all transistorized equipment. We're sort of experimenting with it. It hasn't worked out properly on the lead guitars. But it's been sufficient on the bass. On bass, we've got 6 speakers to 8 speakers. In England I've been using a Showman Fender amplifier. And a Fender concert amp which is a smaller one with 4 ten-inch speakers. I link them up together so I get double the power. Through one you get the bass frequencies and through the other I use feedback and the treble frequencies. This is about the best set-up I've had so far. But Jordan is working on some new equipment which should prove to be great. I play a Gibson Les Paul guitar, Chris has an Epiphone bass and there's another Gibson floating around. Eventually, it will be all Gibson because we bought them and never bothered to change them. They're quite adequate.

HP: How did you finally end up with the equipment you've got now?

Jim: We just worked on it. I've been playing guitar for a few years now and I just work on this certain line. You do as best you can. The only problem being we blow up quite a few amps. We did one show and I had 4 amplifiers all linked up. It must have been about 400 watts all together. Those were Vox amps. They just can't take the volume. The speakers blow and then you don't get any sound at all. The Jordan ones didn't blow up, but they don't have enough volume. I've never broken a guitar, but I've been through nearly every make. I've never found a guitar which is exactly what I want. At the moment, I'm happy with this Gibson. I've also got a Fender Telecaster. I find every guitar's got a sound of its own and you can use them all and get something out of them. I haven't used the Telecaster on stage yet. Actually, all my guitars are in England because I came over playing bass. I switched to Jeff's guitar. His is very close to mine because they're both Les Paul models. Normally, we all travel by plane and the equipment goes by van. We have two road managers, one for the equipment and one for us.

HP: Have you found a big difference in British youth and American youth?

Jim: The Americans are a little more narrow-minded. The English, at the moment, are completely broad-minded. This wasn't the original concept of the English, was it? You can shock people in America very easily. If people are shocked, that's their bad luck. They should open their minds. In England, you could walk around in the nude and you wouldn't shock anyone. They'd think you should be put away, but they wouldn't beat the guts out of you. Also, the age of consent is 16. You can marry at 16. The attitude over there is completely free, just like the attitude toward clothes.

HP: Are you really that concerned about how you look?

Jim: I'm not really concerned with clothes. People put that on my shoulders. In actual fact, I'm pleased to see people walking around in outrageous things. They're throwing off the chains of a society that was. It's probably making England completely decadent, but so what. Billy Graham was just over there in England and if you walked around with him, you'd have seen it look all pretty decadent. I'd have to agree. He didn't make any impact at all. Actually, it's a forecast of the end of society. But I don't care because I'll be dead before it ends. If we've come this far in five years, it should really be something in another five. I'd like the new society to be a peaceful one but it won't be, because violence seems to be the answer to every problem. Every fringe society must be experiencing this. We walk around with long hair and someone shouts something, so you give them an answer back which is a little sharp and which they don't quite expect. Then they can't give you an answer, so they come to fists. What sort of mentality is that? I can't argue with a person like that.

It must be terrible for someone to have to fight in a war. I haven't had to think about wars. It's just something I haven't had to contend with, really, I hadn't realized what a big problem it is. I've just seen the horrors of it.

HP: Well, England doesn't have any big thing going now.

Jim: No, this is it. We have no conscription whatsoever. I'll never be drafted or anything.

HP: They won't send you over to Africa to beat up some people or anything?

Jim: Well, they don't do this. People wouldn't do this. If they had a mass conscription now, I dread thinking how many people would go. Because it would only be 40% of those who would have gone before they dropped conscription. People don't want to know about it anymore. They think, well, why should I waste two years of my life and probably lose my life in the process. They just don't want to know anymore.

They've got a regular army where you join and you jet paid every week for doing it. And you just do maneuvers and things.

HP: They have that here, too!

Jim: Yeah, sure, but yours is more of a reality because they get drafted over to Viet Nam. Basically, I must be a coward, but I just couldn't shoot someone. I guess it's different if they're looking at you with a gun and you're looking at them with a gun. You'd have to do it, though. I'd just be violently sick afterwards. I'd never forgive myself, anyway. I'm not the sort of person who's the violent type. I've never never had a fight in my life. I've never put my fists up to anybody. I've never needed to. Only, as I say, through the long hair problem people have said things. But it's never developed. Even if you say come on then, they still won't do anything. Basically, they've still got no guts. But even if they did, I'd run a mile. It's funny because you think, well, what are they going to do, and they don't do anything. So they just wasted the whole time laughing at you. Perhaps they just laugh to reassure their own masculinity.

HP: Why do you think there's such a big concern with clothes?

Jim: I don't know. It's a projection of one's character, I suppose.

HP: Is Carnaby Street a real madhouse?

Jim: It's so easy to send that Carnaby Street thing up. It really is. It's really a street with lots and lots of clothing shops. It's quite a revelation if you've never seen anything like it before, and I'm sure nobody over here has. There's nothing like that. It's just teen-age fashions, bizarre styles. You go there on a Saturday and the kids are there spending money. This is all part of the game, I suppose. Yeah, they spend a fortune on clothes. I don't know where some of the young ones get it from. You see them walking around and they must have spent twice what they've earned.

HP: Do they have things like charge accounts over there?

Jim: No. Not on Carnaby Street, anyway. They won't take checks or anything, not from the kids. Not unless they know you. But there is a big leaning towards clothes and fashions. It's an extension of their character. People have become more aware of the fact that, if they dress up and they look really elegant, I'm not saying Carnaby Street, but if they've got a very clean-cut suit on and still look pretty hip with it and not just sort of middle class, it has the affect on a girl.

HP: What's the biggest thing you dislike about America?

Jim: You see, the only thing that I've seen is violence, but I've only been doing concerts. I don't get out to walk around and meet people very often. If I was walking around the street, I probably wouldn't see any violence whatsoever. So, it's difficult. You see, I haven't seen much of America on this tour. But, when I had my holidays before in Hollywood, I enjoyed it. I thought it was great.

HP: You spent your holiday in Los Angeles?

Jim: Before I joined the group, I spent my holidays for the last couple of years in Hollywood.

HP: What are some of the things you enjoyed in Hollywood?

Jim: The weather. The weather's pretty bad in England. I met quite a few people and made some good friends. I liked the Sunset Strip; there's quite a bit happening there. I got to see groups I could never see in England.

HP: If you had a choice, where would you like to live?

Jim: Miles away from anybody. That's what I'm going to do when I get back. I'm buying a house. It's about a half a mile from anybody else. It's got a river, five bedrooms. That's for when the group slows down a bit. But we'll be working hard for the next year. There's so many things I'd like to do that I don't have the time for now. Things which are very important to me, like painting. But it's best to work now and make all the money I can.

HP: What kind of books do you like to read?

Jim: I used to study religion when I was in art school. But I stopped.

HP: Was that how you got interested in Indian music?

Jim: It may have been subconsciously. But I didn't just read about it and then go onto it. At the moment, I read sort of very strange things like I, Jan Cramer. Things which are a social comment. This Cramer is a beat painter in Holland. I like Henry Miller, too.