but this song came on when i was drawing okay


Regarding the first one: I started jammin’ out in the fricken theater when that came on okay I shamelessly love that song
The second one is for @drugru. I stumbled upon their Balth with light up sneakers and couldn’t resist ;-;
(Hopefully once I start drawing him more my style will get better nabsnsnsbsn takes me a while to get used to new characters)

And whoops idk if the gif is working. Oh well, fix it tomorrow.

if you guys are wondering why i’m asking about linkin park songs, since everything is kind of drowned in voltron stuff, the lead singer of linkin park committed suicide.

and it really hurts to hear that, i hope his friends and family are doing okay…but, the man who helped me and many others who were suicidal through his music..committed suicide.

i used to draw gorey images when i was young while listening to linkin park, it was a huge coping mechanism for me. for a long time i stopped listening when my taste in music broadened but i later came back to it, thinking i wouldn’t enjoy it, but i still do.

linkin park is very important to me. they are the reason i get pissed when i hear people mock people who listen to 21 pilots, tho i’m not a big fan of 21p, i know what that kind of music is, i hear it and i know. 

i just hope he’s in a better place.

Q&A with Paul McCartney about the Sgt. Pepper album that took place at Abbey Road’s Studio Two – the very room where the album was recorded!
PaulMcCartey.com [PMc]: Do you remember coming up with the cover and band concepts? We understand that the original concept came from you doing a doodle on a plane based around an Edwardian military band?
Paul McCartney [PM]: Yeah! Well, what really happened was I was coming back from a trip abroad with our roadie, Mal Evans, just the two of us together on the plane. And we were eating and he mumbled to me, asked me to pass the salt and pepper. And I misheard him. He said [mumbles] “saltandpepper”. I go, “Sergeant Pepper?” I thought he said, “Sergeant Pepper”. I went, “Oh! Wait a minute, that’s a great idea!” So we had a laugh about it, then I started thinking about Sergeant Pepper as a character. I thought it would be a very interesting idea for us to assume alter egos for this album we were about to make.

So that’s what we did. And yeah, I started doing drawings of how the band might look. I sort of got this military look thing going and one of my ideas was that they were being presented by the Lord Mayor of some Northern town in a park. And in the old days they used to have floral clocks, they called them. It was like a clock that was made out of flowers. So I did drawings of the floral clock and then, “Sgt. Pepper’s Lonely Heart’s Club Band”, AKA The Beatles, getting an award. So they’ve got a big cup and they’re getting some sort of award from the town.

So that’s where the idea came from and then I just talked to all the guys and said, “What do you think of this idea?” They liked it and I said, “It will mean, when I approach the mic, it’s not Paul McCartney. I don’t have to think this is a Paul McCartney song”. So it was freeing. It was quite liberating.

So, you know, we didn’t keep that idea up all the time, but that was the basic idea that we would make something that was very free. Something that this other band might make, instead of doing something that we thought The Beatles ought to make. It originally came from that mishearing of salt and pepper!

PMc: Were you doing the drawings on the same flight?
PM: I don’t remember if I did the drawings on the flight, or whether that’s just got morphed into the same story. But definitely on the flight coming back.  That was the start of it when I misheard that. So that’s the essence of the whole idea.

PMc: Had you already started to write the songs for that album?
PM: No, but when I got back I started thinking, “Okay, what would their theme tune be?” So I wrote what became the opening song where they would introduce themselves and then they would introduce another character: Billy Shears, which was Ringo.

It was just to give us all alter egos, to give us all invented characters. So that now we were making this album like a piece of theatre. We were now going in to the studio as other people. And we came down to Soho, in the West End, and had our uniforms made by Berman’s the theatrical costumiere.

PMc: Was there any reason for the different coloured outfits?
PM: No, we just chose a material. Said, “I’ll have that, he’ll have that”. There was no concept, no. It was just whoever wanted what colour.

PMc: We understand there were two drum skins created for the cover. Was there any specific reason for that, or was it just to make sure you had different options?
PM: No, I think the drum skins - as I recall - were organised by Peter Blake, who had someone he knew who did painting for fairgrounds. So you see the rides in the fairgrounds - like the Waltzer, or you know, the House Of Fun and all that - it’s always lettered and painted a certain way, which is quite an ancient tradition, apparently. There’s a specific look to it all and there are people who specialise in those, so I think Peter had those done by those people, and I suppose he just had a spare one made as well. I think we probably would have just said, “That one”.

PMc: We realised in the office that there are some grammar mistakes on the drum skin: a semicolon after ‘Sgt’, and there isn’t an apostrophe in ‘Peppers’. Is that just an accident?
PM: Yeah, that’s an accident! The guy doing it was, as I say, a fairground guy, so all this sort of stuff [Paul points to the logo on the album cover] - the filigree and all these decorative things - are the kind of things you would see on the side of a Waltzer, when you go to the fairground. It’s covered in this kind of stuff.

So I think he will have just been told “Sgt. Pepper’s Lonely Hearts Club Band”, and instead of putting a dot after the ‘gt’ of ‘Sgt.’ - which I think you might naturally do - I think it just looks better as a composition to be down there. And there’s no particular reason for it being a semi colon. It could have just as easily been two dots, or something. And then no apostrophe? There’s no reason for it. He was asked to do that and he came up with that beautiful design.

PMc: Do you remember who’s idea it was to have the cut outs that came with the album? The moustache, medals, stripes and band stand up?
PM: I think those were Peter’s ideas. I certainly gave him the basic idea of the Sgt. Pepper band. There was the floral clock that got changed into the little flower arrangements on the cover. And then the idea was that each of these characters in the “play” would have their own background. So I asked all the guys to come up with a list of people who their character might be fans of. So everyone did that like as a bit of homework, kind of thing.

PMc: Was there anybody who kind of didn’t make the final collage on the cover?
PM: Oh, yeah! I mean, some, because it was just a fun thing. You know, I think someone brought Hitler. And that was vetoed immediately: “No!” And then Jesus was in there. You know, he was an understandable hero. But there were certain ones that might have offended people.

I mean, Hitler, I think was just a joke. No way he was gonna get on there. Jesus was not so much a joke. He could have been in there but we didn’t want to offend Christians.

PMc: Do you remember any specific names you suggested?
PM: [Looking at the album cover] I think these were mine: Aldous Huxley, because I had been reading a book by him. H.G. Wells, Fred Astaire. And then there was Dylan Thomas.

There’s a footballer there, I think that’s Dixie Dean. I mean this is all documented exactly who they are. Laurel and Hardy, we liked them. William Morris, Marilyn Monroe, Terry Southern. This is what the floral clock became at the bottom of the cover. And then people thought this was marijuana, which they weren’t. They were just plants! But, of course, in those days everyone read everything into everything we did.

But that was it. We all had a list of favourites. George put in an Indian guru, that’s Yogananda. And Babaji is in there. So we just each put people in that we admired through history, so that was the idea. It was really just so if a fan magazine had said to the characters in this fictitious band, “Who are your favourites?” They’d go, “Oh, these people”. We’d go, “Okay this character, is that kind of guy. George: he’s more into mystical people, you know. Paul: okay, he’s more into literary ones, or whatever”. So it would give us each an identity. It was really just for background.

There were certain ones we all liked, like Oscar Wilde. Max Miller was a British comedian. And then there’s Stuart [Sutcliffe], who had been our old bass player, who died. Aubrey Beardsley, the artist. The Bowery Boys, they were a TV series when we were growing up, and there was one of them who wouldn’t do it. One of them wanted money for it.

We just wrote to everyone and said, “Do you mind?” Well, at first we didn’t. But the head of EMI, Sir Joseph Lockwood came to my house and complained! He said, “This is going to be a nightmare. There are going to be legal battles!” I said, “No, no, no. People are gonna love it! They’re all on The Beatles cover, you know! It’ll be a laugh, they’ll understand”. He said, “No, you’ve got to write to them all”.

So we did. We got a letter out: “We are planning to do this using your image. Do you mind? Is it okay? Please give us the okay”. And all of them did, except for one of the Bowery Boys who wanted to cut a deal. And we thought, “You know what, we’ve got enough people on here!”

PMc: Did that delay the album release?
PM: No. No the cover wasn’t shot. We had the idea… Or it may have been, it may have been actually. Yeah, I think it was shot, but we just had to ask them all.

PMc: Would you pick different people for the cover today, compared to 1967?
PM: I’m not sure. You know probably, yeah. But just because it wouldn’t be the same time.

PMc: We’ve read that the Sgt. Pepper moustache came about because you had been in a bike accident. Is that true?
PM: Yeah! I had a moped and was with a friend of mine up in Liverpool. It was Tara Browne, who was one of the Guinness family. He and I were going to visit my cousin Betty on these mopeds that we had, little motorised bicycles. And there was a very full moon and I said, “Wow, look at that moon!” Then I suddenly realised I’d lost my balance and I looked back and I smacked the pavement and bust my lip! And we went to my cousin’s house with my hand over my lips saying, “Hey Bett! Don’t be worried”. And she’s thinking, “Oh, isn’t he funny”. And then, “…Ahh!”

So, Betty said, “Oh, I’m gonna get this guy”. This doctor, he’s the local doctor and he came over. But, tell you the truth, he’d had a few. So he said, “I’m gonna have to stitch you!” And I said, “Oh!” Because, you know, it was Christmas time or New Years time, and he definitely was over the limit!

So he got his needle, and he could barely thread it, he couldn’t thread it even. So I think Betty sort of said, “Here, let me do that”. So she threaded his needle up for him and I went, “Ahh… Here goes nothing!”

So he put it in – no anesthetic. Bang! “Oww!” You know, and then he put it through and made a stitch up, put it through the other side, “Oww! God!” I was just sort of standing there. It was not wonderful, but I thought, “Well, he’s got to do it”. He pulls it right through, and the thread comes out. “Oh, we’ve got to do that again, then.” “Jeez.” Was I happy? No!

But yeah, so after that I started growing this moustache to hide quite a big, sizeable bump. There’s a bump still there. But it was quite a good gash, and I broke a tooth!

Yeah but anyway, so he had to do it. He finished it off. It wasn’t a brilliant job. So then, as I was recovering, I let this grow as a moustache. I wasn’t really in the public eye for a while, so then the first thing people knew was that I’d grown that moustache. And the other guys liked it and so we all grew them. It was just like a fun thing. So that’s that!

PMc: At the end of the album - following ‘A Day In The Life’ - you have that very high-pitched tone. And then you have the inner groove loop on the record. Where did those ideas come from?

PM: Okay, so the loop thing was that at that time people were partying a lot and getting stoned a lot. And one of the things is you would be in a party with everyone, you’d be playing an album on vinyl and so the record would end. But everybody would be so sort of stoned that the record would just go [mimics the noise of the record player getting stuck in the inner groove]. You’ve all been there! And people would go, “Ahhh… Yeah…” And no one would turn it off!

So we went, you know what, we should have something there. We should put in a little loop so when that happens, there will be something there! So that was the basis of that idea. So we just recorded something, we just all got around the mic, and we just said stupid stuff. It’s just a loop cut out of some stuff we said.

I think John said something like, “Cranberry sauce, cranberry sauce”. And that was just a little bit of fun for us, because we were always trying to be different from other people who made records. So this would be a very “Beatle-y” thing to do. So we did it, and it was just for that moment where [mimics record player playing the inner groove]. It would say something instead of just, “Cuh-chug, cuh-chug”.

The crazy thing was, as I said, everyone read into everything we ever did in those days. So somebody arrived at my house and the rumour was that if you played it backwards, it said something. If you play it in that groove backwards and then we thought well none of us have ever tried. So I said, “No, it’s nonsense. That’s not true, at all!” And they said, “It is! It is! It is!” And they insisted. So I said well come and show me. So he took it, and somehow, we just went against the player’s motor, turned it backwards, the loop. And sorry folks, excuse my expletives, but it was supposed to say, “We’ll fuck you like supermen”. I went, “This is just ridiculous!” But sure enough, “We’ll fuck you like supermen, we’ll fuck you like supermen”. It sounded like that!

PMc: So that was just by complete chance?
PM: It was, yeah! It was pretty random, but those things happen with the readings, you know. Because people would look into it so much, and that was that.

PMc: And no one had done that kind of inner groove loop before, is that right?
PM: Yeah, nobody had done it on a loop like that. It’s a silly idea. No one was as silly as we were!

But the other thing, that was fascinating: the high-pitched noise [whistles]. We would have great conversations with George Martin in the studio, because he was very swotty, George was. Very mathematics, and he knew the science behind a lot of what we were doing, whereas we didn’t. We just enjoyed it and loved it. But he was talking about frequencies. He said, “There are so many frequencies”. For instance, he said, “Your ears are all younger than mine”. He said, “Let’s do a little test’. So he took a little oscillator that we had and went [whistles from a low to high pitch]. And he got it up to [whistles very high]. And he said, “Can you hear that?” We go, “Yeah…” He goes [whistles higher]. He said, “I can’t hear that, can you?” We go, “Yeah!”

Then he took it higher so even we couldn’t hear it and said, “It’s still there”. The noise, the frequency was still there. He said, “Dogs can hear that. Dogs have a different framework, a different range of hearing”. We went, “Fantastic! We’ve gotta put that on the record!” So when suddenly when everyone’s listening to it, no one can hear it and the dog would perk up. You know, prick his ears up: “What’s that?”

So that arrived from those great conversations. And the other end of that conversation was he said, “Lots of people know this, this frequency thing. And one of the things Hitler had was these sort of PR people, who did movies for him. You know, Leni Riefenstahl. And there was a PR machine behind everything he did”. He said, “And one of the things, and it’s suppose to be true, was that at these rallies, hundreds and thousands of people would arrive, and you see film of it. And he wouldn’t arrive, he wouldn’t be there. And what they would do is they would put a subsonic noise [makes low-pitched hum] through the speakers. But no one could hear it, but it was sort of was rather discomforting. So you can’t hear it, but it kind of puts you off a bit.” It’s like a super sub-bass at a big club. It’s like, it can actually sort of get to you, it can bother you a bit, so he said, “They used to play this, this is the story, and then just before Hitler showed up they would turn it off”.

PMc: So they would get a sense of relief?
PM: Yeah! Like, “I feel so much better, now he’s here!” You know, and nobody knew that there’s a subsonic noise.

PMc: And George Martin told you that story?
PM: Yeah, George Martin. This was all one conversation: “The Highs And The Lows” by George Martin. But you know, we took it all in. We loved him. We loved these little chats and we used it all in our music.

You know, if someone put a tape machine on backwards by mistake once, the tape op, and we were like, “Oh! What’s that?” Whereas I always say any other band would have just gone, “You’ve got it on backwards, stupid! Put it on right!” But we were always, “Ahh, how can we use that?”

George was such a good producer and got it. And he would say, “Well, we could do it. And if we did this, and if we did that…” And so that really made it interesting, because there were all sorts of physical things like that that he would educate us with. Like half speed things. If things were very fast, the guitar solo in ‘A Hard Day’s Night’ [sings the song]. It was very hard to play normal speed. So George would say, “I’ll tell you what we’ll do…” So we took it down to half speed on these studio machines. You have to take it down an octave, that’s what was intriguing. So half speed, the octave would go down. You would play it on a bass guitar or a guitar [sings song again, lower and at half speed], and it’s easy to play! And then you just put it back up [sings at full speed]. So if you listen to that solo that’s at double speed. So we had a lot of fun with that, you know, it’s gonna go down an octave, we’re gonna play it slow.

PMc: I’ve always wondered if you guys slowed down ‘When I’m Sixty Four’ because your voice sounds slightly higher?
PM: Sometimes I would just speed things up a bit. Often, when you make a song you record it and then you think, “It’s not quite fast enough!” So rather than do it again, you just lifted the tape. These days you can lift the tape and not lift the pitch, with Logic and a few other machines. But back then you would actually lift the pitch a bit.

PMc: So another question we quite often see is, in hindsight, do you wish ‘Penny Lane’ and ‘Strawberry Fields’ had been included on the album? And if so, where would you have placed them?
PM: No, I was happy. So we won’t even get into placing them! I was happy that it was the precursor to ‘Sgt. Pepper’. And the thing was, you know, we always liked to release things fresh. We had just made those tracks, so the thought of waiting until we had completed the whole album would not have appealed to us. You know, we liked that as soon as it’s made, at the nearest point to the actual making of the song and the record, we would like to put it out. So I was glad how we did it and it was like a fanfare, that single. Another thing we liked about it was it was simple value for money. You really got two A-sides. But it kind of heralded what was to come.

PMc: Kind of like a road sign showing what was on the way?
PM: Yeah!

PMc: Another question we see is: Did you have any kind of idea at the time just how big this album would become?
PM: No, not really. The only thing we knew was that the music press, I’m not sure who it was – it would probably have been The New Music Express or The Melody Maker, the two music papers that were very big at the time – one of them, somebody from one of those music papers said, “Oh, The Beatles have dried up. They’ve finished. We haven’t heard anything from them, you know, they’ve run out of ideas”. So we were quietly tinkering away at Abbey Road knowing we hadn’t run out of ideas and knowing it was gonna be really great to be able to say, “No, we didn’t run out. Check this out!” And give them ‘Sgt. Pepper’ and go – “Take that back!”

In fact, when it did get released, the music critic from The New York Times said it was terrible. And Linda said she met him in the street and said, “You’re crazy, man. It’s a great album! What are you talking about?” And there must have been a lot of people that said it to him that week, because he took it back a week later. He said, “You know what, it’s grown on me. I like it’.

PMc: And looking back now, what always blows our minds, is that you were only 24 when that album was recorded. That’s quite incredible!
PM: Yeah, I mean there’s quite a few people who feel they’re very grown up when they’re 24. And we did! We’d been doing the group since, well, since we were kinda 19 and 20. So four years at that kind of pace was a long time. And we all smoked Rothman cigarettes. And we had Carnaby Street stuff, so we thought we were pretty hot. So 24 didn’t seem young to us, because we had just been 20!

I mean, I always tell the story of when were 17, me and George - and George would have been 16 - and we used to go round to see John at his Art College, which was next door to our school. We were where LIPA now is, The Liverpool Institute. Next door was the Arts School which is now part of LIPA as well. But that’s where John was, so we’d go round just to hang out and see him during lunchtime and there was a guy who was in John’s year, who was like older than the class. You know that phenomenon and he was 24 and we felt so sorry for him! No, we really did, like a genuine sorrow. [Whispers] “He’s 24? God, it must be awful!” You know, now looking back he was like a child. But, you know, so by the time we were 24, we felt like we had done quite a lot. We had done enough to sort of think we were pretty grown up!

A coda from PaulMcCartney.com: After we stopped recording our Q&A, Paul carried on telling us some very cool stories, such as how one day in the studio the ‘A’ string on John Lennon’s guitar began to resonate when he leant his guitar against an amplifier. The band jumped up when they heard the noise, saying, “What’s that?!” After George Martin explained how certain frequencies will make objects vibrate, it was agreed they would record this new sound for the start of ‘I Feel Fine’.

Paul told us how he really loved that about The Beatles: when those “happy accidents” happened, the band would want to use it in a song somehow. He likened it to how a painter might see a small, unintended brushstroke on a canvas and decide to leave it in, rather than painting it out.

Another story Paul told us was about how one of the engineers threaded the tape machine the wrong way in the studio during a session. When they pressed “Play” the song played backwards and again, up they jumped asking George Martin if they could use that somehow. Paul told us George’s response was always to rub his chin, look thoughtful then reply, “Well, I suppose we could…” And the rest, as they say, is history!


Imagine your OTP slow-dancing to a  love song, with Person A quietly singing the words in  Person B’s ear.

Well this is what i came out with… not much plot okay I admit i just wanna draw some violent zosan lmao but hopefully you can still feel a bit fluff in it XD

Not exactly a love song but when i saw this prompt, Muse’s Feeling Good instantly came to my mind. I blame Unda for this, she made me get addicted to this song.

Not much time spent on this so… apologise for the quality, the fucking blank background, the messiness and the handwriting. 


Okay. I can explain. When I was watching some sparrows scrap over some crumbs, what came to my mind was a drawing titled Three Little Birds which included some anthro birds wearing mafia suits. The title idea may have been because the Bob Marley song was floating around my head during that time. I find it strange that such a gentle and happy song left me with the idea of eagles, ravens, and sparrows being criminals. I suppose that the contrast between the title and the pictures I have in mind left me with some irony I liked.

Lo and behold, a final project for my drawing class is born. These are the drafts of what I will be recreating on 20x30 inch paper with inks

right, the thoughts behind this drawing came from hearing the song Bass by Meghan Trainor. On first listen I thought okay, great, body acceptance blah blah. Then I heard the lyric, ‘she said boys like a little more booty to hold at night’. I thought, why the fuck must we only accept ourselves and our bodies in the context of male sexual appeal. And how dangerous it is to be coining pop songs like these as 'feminist anthems’ when really they are just adding to the damn tidal wave of misogynistic views we’re already up to our necks in. If I ever write a pop song it’s gonna be about eating toast and rolling down hills and screaming at the sky because that’s all the cool stuff you can do with your body. 

I was tagged by my cutie @juviarainworld I’m sorry babe like I keep forgetting I got tags to do like yah I’m horrible but remember I’m fabulous so *does the Zendaya hair flip*
And babe it’s okay. I’m 18 and have always been single so it’s good. Get into one when you’re ready

Tag people and answer the damn questions

Relationship status: married to Gray Fullbuster 👅👅👅👅👅
Favorite color: black
Pets: None
Last song I listened to: closer by the chainsmokers -_-
Favourite tv show: GOSSIP GIRL
First fandom: fairy tail lol
Hobbies: sleepin, trying to draw lol, talking

Okay I have so many tags and so few people so I’m sorry for taggin you I’m a bunch in advance lol
@requipmage1255 @cosmicloveoftheages
@natsu–firedragon @the-mystifiying-walnut (hey slut👅) @queenheiwa

Ashton Imagine - I miss you.

Requested : Yes!

Words : 2, 080

Authors note: Thank you so much for this request, I really liked it! This is super fluffy, so be prepared for super needy Ashton. ps. I didn’t actually get them singing the song, I did it a bit differently, but hope it’s alright!

Request | Masterlist


“Babe…” Ashton’s laughing voice woke you back up. It was nearly 3am where you were, and you and Ashton were skyping. “You can go to sleep love, I’ll be here to talk to you tomorrow before the show.” He smiles kindly, and you just sleepily shake your head. 

“This is the first time I’ve been able to see your face in almost a month Ash… I don’t want it to go away.” You sigh, moving from your previous position on your stomach to sit up, trying desperately to keep yourself awake. 

Ashton looks at you, his hair laying messily against his head, and he runs a hand though it, trying to make it look a bit better. This action made you laugh a bit, causing a light blush to creep onto his cheeks.  
“I miss you so damn much, (y/n).” He says, his voice low and filled with longing. He flopped his head down into his arms, a sigh leaving his lips. 

You watched him, your heart sinking a bit at the boy in front of you. You wanted to reach out and hug him, to feel his arms around you and his lips to your cheek or your own lips… you just wanted to see him, and it was killing you. 

“I miss you too, Ash, more than anything. I wake up every day though, and the first thing I think about is that it brings me another day closer to seeing you.” You smiled a bit as you said this, and watched as Ashton peeked up at you through a gap in between his arms. You could see that he was smiling though the glimmer in his eyes.  

“What did I do to deserve you…” He whispered to himself, but you heard it, and it made your heart tighten in your chest.  

“I could ask you the same question.” You giggle. 

On the other side of the screen, a couple thousand miles away from you, Ashton was laying in his hotel room, a blushing mess. Ashton was one that blushed easily, but when it came to you, he cheeks were almost always a stained pink. You never failed to make him smile and blush, and you knew it. The boys always teased him for it, saying that he acted girlish, but he didn’t see a problem with it. What was so bad about blushing around someone you loved?  

Back in America, you let out a very loud yawn, rubbing your watery eyes afterward.  

“Babeeeee!” Ashton laughs, a whiny tone to his voice. “You. Need. To. Sleep!” He smiles widely at you, and you hide your face with your hands. 

“No. I. Don’t!” You blush, shaking your head because even when you were sitting up and full sentences were leaving your mouth, you were going to pass out at any moment.  

“Sweetheart, you’re about to fall asleep, I can tell. I know you.” He gives you a warm smile before continuing, “Go to sleep, love. I’ll stay on here with you until I know you’re sleep, and I’ll call you again tomorrow to see your beautiful face.” 

This sentence had you blushing like mad and your stomach doing flips, but you just nod, taking your lap top and setting it on top of his pillow so he doesn’t have an extreme close up of your face while you sleep. 

As soon as your head hit the pillow, you could already feel yourself falling asleep.  

Ashton watched you, so entranced by how innocent and stunning you looked, even when your eyes were closed and your hair was strewn in a mess across your forehead. He loved seeing you like this, because he knew he was the only one that got to see this vulnerable side of you, and he loved it to pieces.  

“Ashton…” You mumble, your eyes remaining close and your voice sounding like a 5 year olds.  

“Yes, gorgeous?” He smiles, knowing you were almost all the way asleep, because you often tended to ramble about things right before you fell asleep.  

“I love you so much, and I miss you… a lot…” Your voice came out slow, but as soon as you said it, your breathing got slower, and Ashton knew that you were fast asleep.  

“I miss you, and I love you too, princess."  


The next morning, Ashton was woken up early by bodies throwing themselves on him. 

"Wake up, wake up, Ashton needs to wake the fuck up!” Calum and Michael sang while they jumped on his bed, and Luke was standing on the ground, playing the guitar along to their little song.  

They kept repeating it, and no matter how many times he told them to stop, they wouldn’t. 

“Wake up, wake up, Ashton needs to wa-” They were on their fifth time repeating it, when Ashton finally stood up. 

“Alright, alright, I’m awake already!” He said, sighing as the boys all cheered.  

“We’ve got a big day ahead of us mate. First we have to go to that radio interview, then we have rehearsals right after that, which leads straight into the show. Sound’s fun, right?” Michael patted Ashton’s back while he was putting on his jeans.  

“Sound’s like a hell of a lot of work… but yeah, it sounds like fun.” He said, still groggy and annoyed from his loud and painful wake up call.  


The radio interview consisted of the same questions as all the others, and when your name came up, Ashton sighed a bit. Today was one of those days where he was missing  you more than normal. He missed everything about you, and he couldn’t seem to stop thinking about it. It was making him a bit upset, only because you were half way across the world right now. 

“So Ashton, how are things with you and (y/n)? Still going strong?” The interviewer smiled, pointing the mic in Ashton’s direction. 

“Yeah, we’re going just as strong.” He put on a smile, hoping they couldn’t see though it. 

“What’s it like, not having her here on tour with you?” The question struck him funny, and he sighed. 

“It’s really hard, you know? I’m used to being able to wake up beside her, and see her all the time. With her going to college, and me going on tour, there was no way that it would work with her coming with us, so I had to leave her behind, and I miss her so much that it hurts.” Ashton’s voice cracked, and Michael patted him on the back, just then realizing to what extent Ashton missed you.  

The radio interviewer said something about giving it his all for you tonight, but it would be so hard. Days like these really brought him down. He missed you so much that it was physically causing him pain, and he wanted nothing more than to hop onto the earliest flight and go to see you. Skype wasn’t enough, he wanted to see you in person and to hold you in his arms, because when he had you in his arms, he felt like he was home.  

The time it took for that interview to end was excruciatingly long for him, and he felt as if he was about to burst. He knew he couldn’t go and see you, and he knew he couldn’t skype you, but he needed to hear you voice. It was Sunday, and he knew you didn’t have classes today, so as soon as that interview was over, he pulled his phone out to call you. 

“Hello?” You said, your voice cheery, which in an instant put him into a better mood. 

“Babe..” Was all he could manage. It was stupid how happy the mere sound of your voice made him. He could listen to it for years and never get bored of it.  

“Hi babe, how’d the interview go?” You asked, smiling through the phone.  

Ashton sighed, pushing through the small crowd of people surrounding their car that would take them to the arena they were preforming at that night. 

“It was long, far too long.” He laughed, but you could see though it.  

“Are you okay, babe?” You ask, the worry evident in your voice. 

“Hmm, yeah, I’m fine, we’re on our way to the venue.” He tried to sound happy, but hearing your voice was only causing him to miss you more. He knew that the show tonight would probably put him into a better mood though, it always did. Preforming live was one of Ashton’s favorite things. 

“That’s good! I know you guys will kill it.” You laugh, wanting to make him happy. You hated it when he sounded like this, so down and upset. 

“(Y/n)…” He sighed, leaning his head against the cold glass of the car window, closing his eyes. “I miss you so much. I’ve said it a lot lately, but damn, I really miss you.” He didn’t try to hold back the sadness in his voice, and the boys heard it too. Calum just patted him on the back, while Michael and Luke tried to do something stupid to make him laugh. It worked, and Ashton chuckled a bit while waiting for your response. 

“I miss you too Ash… this house isn't  home without you here.” You sighed, and the smile slowly feel off his face.  

“I know babe… I promise I’ll be home as soon as I can, you know that. ” He closed his eyes again, imagining himself home with you. 

“I know… I just miss my cuddle buddy, you know?” You laugh, seating yourself on your couch. 

This made Ashton smile again, but soon they were at the venue. 

“Babe, I love you so much, okay? I promise lots of cuddles when ever I’m able to come home, and I’ll skype you after the show, alright?” He hurriedly said, the security guards ushering the boys out of the car and into the sound cheek.  

You sighed, wishing you could hear his voice longer, but knowing that he had to go. 

“Alright babe, I love you too. Talk later?” You smiled into the phone. 

“Of course. Bye beautiful.” 

“Bye Ash.” 


The rehearsal itself put Ash into a better mood almost instantly. It was drawing close to the end, which meant it was also show time. 

“Alright guys,” a sound guy came out, showing them their setlist. “Tonight you guys are going to be doing an extra song, since this is a bigger show.” All of the boys smiles grew instantly. 

“Awesome! What song?" Michael asks, and the set guy smiles back. 

"I Miss You by Blink-182." They all began cheering again, saying how excited they were to preform the song for the fans, but when Ashton heard what song it was, his chest tightened, and he didn’t cheer. 

"Ash, is everything okay?" Calum turned to Ashton, making the other boys look, too.  

"Oh, yeah, it’s fine.” He smiled a bit, “It might just be a bit difficult to do tonight, that’s all.” He twists his drum stick anxiously in his hands, as you instantly fill his mind again. The song was so relevant right now…  

“Awwh Ash!” Luke pouted, and soon all the boys were formed around him, hugging him tightly. 

“We love you buddy, and we know you miss (y/n), but this is also one of your favorite songs, so I know you’ll have a blast playing it!” Michael says, and Ashton smiles a bit. 

“Just think about when you’ll be able to see her again, don’t think about the fact that you can’t see her right now. The fans hate seeing any of us upset, they'll be worried about you.” Luke continued, and Ashton just nods.  

“Yeah… I guess you’re right. Let’s put on an amazing show for the fans, alright?” He smiles, and they all pull out of the hug, nodding. 

Of course, it was going to be a bit hard to preform the song tonight, but the boys were right, it is one of his favorite songs to preform, and it’s also one of your favorite songs, too. Instead of thinking about how much he misses you while preforming the song, he’ll just think about the fans and how you dance when this song comes on. Surely then, the night wouldn’t be so bad, especially when he gets to go back to the hotel and see you. How could you have a bad night when you have that to look forward to?


Authors note: So I hope this was alright! I had a lot of fun writing this one, and now I have massive cuddly Ashton feels. Feed back is awesome, and you can request here if you want <3

okay so i decided to go listen to KPOP again (hadn’t in a while ehehe) when i came across this song and it just really reminded me of AntiJack (especially because Jack also listens to KPOP) 

anyway i’m just proud of this doodle and it’d be cool if therealjacksepticeye saw it

(note: the speech bubble translates to “i am the best” :))