2005 mets

I had the pleasure of meeting my now dearest friend Sarah Potempa in 2005. We met at a very small photo shoot - I was in an Off-Off-Off-Broadway production of a show, and I was lucky enough to have Sarah do my hair that day - and we’ve been working together ever since. And years later, as our lives grew and our careers grew, Sarah is now the mother of two beautiful children, Grayson and Lauder, and wife to her handsome, successful, dentist husband named Pat. They live in a lovely home in Chicago, Illinois with their perfect dog named Ash. So as if those credits aren’t enough, Sarah decided to take her ambition and grow her life and career even more by creating what is now one of the hottest tools on the market, The Beachwaver. Sarah continues to be an inspiration for so many women in this business, but also as her friend, she inspires me every day. And if you know Sarah, you definitely used the phrase, - more than once - “I don’t know how she does it”. It’s the truth because Sarah continues her celebrity hairstylist career while continuing to grow the Beachwaver company while remaining to be an incredible friend who answers every single text about a guy I like, and gives me advice. She’s so wonderful; she inspires me to be an independent, strong, successful business woman and an overall a good person. So I’m honored to be here tonight to introduce and support my dear friend Sarah, and then we’re going on vacation this week to celebrate! I love you Sarah!
—  Lea Michele presenting Sarah Potempa with the Hollywood Beauty Award [Product of the Year: The Beachwaver] | Feb. 19, 2017

This Interview Is Over

Request: Hi! I was wondering if you could please do one where the cast of CACW , seb and his pregnant wife ( she’s part of the cast ) go to an interview and she goes into labor and everyone freaks out? Thanks!

Warnings: birth?

Pairing: Sebastian x Reader (ft. The cast of CW)

A/N: I wrote this quickly on my phone so it’s really short I’m so sorry!

MASTERLIST


••

Acting wasn’t always easy for you. You had been in a few films in the past, maybe about 10 to 15? You were always nervous on camera, so that’s why you liked doing theater the best. That was until you met the love of your life on set, Sebastian.

The two of you met in 2005 for the filming of a certain film called The Covenant. You played the part of his girlfriend, so you had to exchange a few kissing scenes with him at the time. You would always laugh and mutter “I’m so sorry - okay. Let’s try this again” because you were either nervous or someone did something to make you loose it.

Sebastian caught onto this habit of yours so during the middle of filming, he asked if he could help you with your shyness and asked you out for coffee. You agreed and soon after that, you had gotten better at acting and hiding your nervous bug that ticked whenever you did something. You were happy that you met up with him every week to study the arts because if you hadn’t, you wouldn’t be here at an interview with the cast of Captain America: Civil War with your husband and the little life you were carrying in your belly.

Civil War was your newest project you’d been working on. You couldn’t give anymore details to your huge fan base, because that would ruin the surprise.

You were in Age of Ultron before Civil War, and people liked your role of Spider-Woman so much, The Russo Brothers just had to squeeze you in for a role in the action film.

Here you are, wearing a nice long, wavy, dark red dress that hugged your curves, especially your expecting area, quite nicely. Underneath, you wore flats just to be comfortable during the interview.

The interview was in London and you and Sebastian just arrived right in time. You saw the stage and saw that it had two rises with chairs on both black rises, and an interviewer’s podium to the right.

“Hey, Seabass!” Anthony Mackie said, coming up from behind you and Sebastian backstage. You smiled as the two of them hugged and exchanged conversations.

“And hello to you too, (Y/N).” Anthony said. “You’re lookin’ great for a lady that’s expecting!” He said, giving you a hug and a kiss on the cheek.

You laughed at his remark. “Thanks, Mackie.”

The other cast members came in, along with The Russos, and everyone started engaging in conversation. You all started talking before it was time to go on stage.

“You ready, babe?” Sebastian asked as he hugged your side, kissing your temple.

You smiled. “Course I am.” You said as you put your hands on your belly.

The announcer started introducing everyone, and by name, they started sitting down on the black chairs that were assigned to them.

“And next, we have (Y/F/N) as Spider-Woman!” The lady said. That was your que to go onstage, so you straightened your posture.

“That’s you, Hun.” Sebastian said. You walked down to the stage, looking at the big audience of fans and the press. You waved at all of them, as they screamed in excitement. You took your seat next to Elizabeth as she got up and hugged you.

“How are you?” She asked, covering her microphone that was clipped to her red dress.

You sighed, putting a hand on your stomach. You felt the baby kick once they felt your touch. “Me? Bloated. The baby? Angry, apparently.” You said, causing her to laugh.

Sebastian came up next and he took his seat next to you, giving you another kiss before the fans screamed.

As the interviewer announced everyone, and when everyone was onstage, the crowd started to quiet down.

“So, how is everyone tonight?” She asked. Everyone responded with either “good,” or “fantastic.”

“Especially you, (Y/N) since you’re the pregnant one on set.” She said. You sighed and smiled.

“Well, like I just told Lizzie here, bloated. The baby is being a little feisty tonight.” You said. Everyone laughed at your comment as the interviewer started to ask questions to everyone on set.

When almost everyone had a question to answer, the interviewer turned the questions to the crowd. Chris and Robert got the most questions, so you didn’t have to worry about talking. As the interview went on, you tried your hardest not to scream out in pain since the baby kept kicking.

“My question is for (Y/N).” Someone in the crowd said. Finally.

Your attention was brought back up to the crowd. You looked around to find the person and you found them in the middle section. “Go for it.” You smiled, holding your hand up to block the light that was blocking your vision.

“You and Sebastian knew each other since around the 2000s. You both have come this far as to working with each other and your relationship with each other is just - fantastic.” The person began.

“Why thank you.” Sebastian spoke from your side. You laughed as you squeezed his hand with your left.

“I was wondering, how was it to play a pregnant Spider-Woman and how was it to work with your husband on set?” You heard ‘awes’ going around the room, and even from your cast mates.

You took a deep breath and began. “Well, for starters, I just wanna say that it was definitely harder this time to play Jessica because, during AOU, I obviously wasn’t pregnant, so it was a lot easier to maneuver around in that tight ass silk suit.” You said, making everyone laugh. “But, uh, yeah it was not as hard as I thought it would be - Well, I mean now I’m what, a few days away from going into labor? So..I kinda forgot what being smaller felt like.” You laughed.

“Rewind. Did she just say a few DAYS?” Robert asked, facing you next to Chris. You nodded. Everyone was shocked by your answer. Just then, the baby started kicking again.

“But during the process of f-filming, I had to- to do a few shots where I was on a greens..screen and then the fighting scenes were brutal so.. Y-yah..” You said, holding your stomach. “But it was fun doing a film with Sebastian again, this time him being m-my husband, so it was an honor. But he really was a distraction.” You smiled at him as he smirked at you, shaking his head.

Everyone did another round of questions, and then you had another one. Another question, and another kick. “Holy shit” you whispered, holding your stomach.

“(Y/N)?” Lizzie said from your right side, holding your hand. “Everything okay?”

You gave her a tight smile. “I - I think so.”

“My question is for (Y/N)” you heard again. Your ears perked up to the sound of your name, and you looked in the crowd. “Who’s your favorite person to work with onset?” The man asked.

When you were about to respond, you felt a warm liquid roll down your leg. Your eyes widened and you yelled, “Sebastian!”

“Oh, thanks, doll, you didn’t have to say my name but- holy shit!” He said, turning to you. You looked at him with worried eyes as he held your left hand, Lizzie holding your other.

“Are you okay, Mrs (Y/L/N)?” The interviewer asked.

“I, uhm.. This…M-My… My water broke.” You stammered. You squeezed your legs as your breathing started to quicken. Sebastian and Lizzie got up and held you up, Sebastian carrying you bridal style. Everyone gasped as the cast got up.

“This interview is OVER.” Robert said. “See you all soon!” He said before everyone exited.

You waved at everyone and the curtains quickly closed. As you walked backstage, you heard Sebastian yell, “we need an ambulance right now!” He said, setting you down on one of the couches backstage. The cast was running all over the place in worry. Everyone was shouting while Anthony, Jeremy, and Robert got out their phones.

“Seb, it hurts.” You cried, feeling a tear roll down your cheek. He squeezed your hand as you squeezed surprisingly harder.

“I know baby, I know. Breathe - like we practiced alright?” He said. He started doing deep breathes in and out as you mimicked his actions.

“This is incredible!” Paul Rudd said from the couch next to you. You saw Chris practically on the floor from laughing so hard, him clutching Daniel’s left bicep as he laughed too.

You couldn’t help but laugh too as you started giggling, then crying. “OWW…” You said.

“Ambulance is here. Get her in, now!” Emily said as she opened the doors meeting the big ambulance trucks. You got in as Sebastian went in as well. You heard the others say that they’ll meet you at the hospital and Sebastian nodded.

“Deep breaths, doll. Follow me.” Sebastian said next to you. You squeezed his hand as you cried out in pain.

•••


Hours later, you were laying down on the big hospital bed, your cast members crowding the room as they all got the news that the baby had finally been delivered. Sebastian sat on the bed next to you, holding yours and his baby. You smiled at the bundle of joy your husband was holding.

“So, what’s the gender?” Anthony Russo asked, his brother, Joe, holding a camera in hand, capturing the moment to post on Instagram.

You looked at Sebastian, since he didn’t know what the gender was either.

You smiled before you began your sentence. You took a deep breath. “It’s a girl.” You announced. Everyone awed. Some literally jumped for joy, others cheered, and Robert gave Paul Bettany $5. Knowing them, they had already placed a bet. (A BETtany lmaooooo)

You saw Sebastian’s reaction and you couldn’t help but have your eyes filled with tears. You smiled as you reached up to wipe away the tear that escaped his eyes. He bent his head down to pull you into a passionate kiss. He gave you your little girl and you rocked her in your arms.

“Decided on a name?” Kevin asked.

You shrugged and looked at your husband. “After all the names we looked through throughout the months, have you decided?” You asked.

He smiled, wiping away his tears. “I dunno..I kinda like the name Jessica. You know, after your character.”

“Jessica is a perfect name!” Lizzie said.

“You will raise a total asskicking girl then, guys.” Chris said, laughter filled the room.

“Jessica it is then.” You said. “Jessica Rebecca Stan.”

Sebastian nodded as your eyes filled with happy tears. You pulled him by his collar and engulfed him in a kiss once more.

“I never thought we’d have our baby in London.” You said when the two of you pulled back.

“My own town.” Paul said shaking his head.

Geza X Interview from 2005, Part One

Way back in 2005, Mor and I met up with Geza X at a recording studio he was working at in Los Angeles. It’s been a longtime since, and memories like vision just get worse, but I recall he had one of the late Rob Ritter’s (Gun Club, Bags, 45 Grave, etc.) amps there which he’d purchased from his former Silver Chalice band mate back in the ‘80s. Of all the illustrious accomplishments on Geza’s resume and cool stuff he had around, having Rob’s old amp really impressed me. This interview originally ran on a small website we started (In a Better World), long-since defunct. I want to point out that Mor was only nineteen when she did this interview. I think she did a great job and I wish she’d stuck with interviewing people. Geza was really pleasant, by the way. -Ryan Leach 

Interview by Mor Fleisher-Leach 

Mor: Having recorded so many singles, how do you think the demise of the 45 affected rock ‘n’ roll music?

Geza: Let me back track a little bit, because I grew up in the ‘60s and heard a lot of the one-hit-wonder bands. There were so many groups with regional hits, like The Standells and The Seeds—stuff like that. Even bands like Love, who were very big in one area of the country, weren’t that well known in other parts. I used to listen to these singles. In fact, I used to go to thrift stores and collect all these Dogs and other bands’ singles that just never made it out of their city. Sometimes there would be an incredible song on there. This was the era when The Beatles and all those types of bands had hit singles and the format was so big with radio. Radio was a lot different in those days. DJs would play various genres on pop radio during their sets, so you’d get a psychedelic song followed by Tom Jones. It was just a completely different world and I loved it. I was really interested in music, but I was also a student demonstrator. I was involved in leading all of the UCLA anti-war protest marches when the UC schools went on strike. I was a big activist, but I was always following the underground music scene. There were so many obscure bands who had one really great song. That aspect of 45s caught my attention and I became fascinated with singles. What happened when punk rock hit was that there was naturally some intrigue about the music. Jimmy Carter heard about it and said, “Well, we can’t have that in this country! They’re talking about anarchy!” President Carter sent out a memo to the heads of all the record companies promising them these humongous tax breaks if they didn’t sign any punk rock artists. That’s why none of us got signed by the majors and only the real sugarplum bands like X or The Dickies got record deals on the West Coast. We were a lot more like the English version of punk rock. The first wave of punk rock during The Masque era was very anti-art and Dada influenced.

Mor: How do you think it was different on the East Coast?

Geza: The punk audiences and artists on the East Coast were generally older and came out of this New York Dolls tradition. It was good stuff. The whole skinny-tie thing came from the East Coast. We just wanted beer. Nickey Beat was making these incredible shirts with spray paint and things like that, so we were really going with the razorblades and safety pins aesthetic out here in LA. But back to the singles—when I had the opportunity to start recording bands, there was nobody releasing stuff. We were almost forced to start the DIY movement, so we met the people at the pressing plants. We pressed singles because putting them out was still relatively cheap and we’d cram as many songs on there as we could. Sometimes a single had three or four songs on it. Everybody in those days had a record player and all the punkers were really broke; they’d blast punk singles on cheap record players. Singles were a really good format for punk. I was trying to bring back the one-hit wonders, which I did succeed in doing with a lot of the groups that I recorded. I spotted the bands that were really strong and I was looking for good material.

Mor: You produced the first Germs single, correct?

Geza: Well, it was not technically the first Germs single (“Forming” on Chris Ashford’s What Records?). They took some cassette that they had recorded that was really fuzzy and released it as a single. That was their first single. I did their first major deal for Slash Records (“Lexicon Devil”). It was a single that Slash put out when they became a label after their run as an underground magazine ended.

Mor: When did you first start theorizing about X-Music?

Geza: Between 1970 to 1972, I really started thinking about what was wrong with music. I liked underground music, but I saw the train coming in where everybody was going into this lame stage with bands like Bread. Really terrible ‘70s, post-hippie dumbed-down bands that were pretty tame in comparison to the underground music of the ’60s. I thought the ‘70s were an era where music was dying. I started thinking to myself—what would be the most extreme thing I could do that would be the total opposite of that? I liked Frank Zappa and Captain Beefheart and all those really weird, atonal bands, so I started playing with a lot more dissonance and what I called “X-chords”—which were just tritones. I read all these books on music theory. In the Middle Ages, people were afraid of these chords because they thought they would call forth the Devil, so people would be beheaded if they accidentally played them. If the court jester was playing along and accidentally hit a tritone, they would say, “Off with his head!” You had to be really careful around the church when you were playing tritones, so of course I bashed them out as loud as I could!

Mor: How was it different playing with bands like The Bags as opposed to The Deadbeats or The Mommymen were you would play X-chords?

Geza: The Bags was more of a poppy-punky band. I liked that kind of music too, because I liked so many different styles, including good top-40 and stuff that had a hard rock feel to it. I got into punk because in those days we were all starving to hear three-chord songs, but everything sounded like The Eagles, James Taylor and disco. All of that music was like a curse on LA in the ‘70s. If you turned a little amplifier up past “two” on the volume knob, you’d get booted out of these singer-songwriter clubs. Everything was acoustic and really cheesy and there were all these sensitive artists singing about these really sensitive things and I would just think, “Where’s the blood?” Needless to say, The Ramones showed up and played really loud and we were all really excited about it.

Mor: You joined The Bags early on, right?

Geza: Yes. It was pretty much around when The Sex Pistols and The Ramones had just started breaking out, and I was thinking “God this is great music.” My friend Joe Nanini and I said “Okay, we’re gonna join a punk-rock band.” Joe had moved to LA from Santa Maria with me, and he ended up joining The Bags too before he went on to Wall of Voodoo. I’d try to throw in a couple X-chords in with the Bags from time to time, but they’d get really mad at me.

Mor: Why did you go on to The Deadbeats after that?

Geza: I always liked kind of obscure, goofy, weird music. In those days, there was nothing like that. I was the only person I knew that was playing music in that vein. Then I met this band called The Deadbeats, and they were doing something very similar. Nickey Beat introduced me to them and I just thought “I’m home!” X-chords and all—they were ready for me. So that became a really happy outlet for some very arty, Dada rock. I really got to get my art-rock chops out with the Deadbeats. We would also wear costumes on stage which was really a no-no in those days with punk. We would perform brain surgery on stage with manikins.

Mor: After that you did the Mommymen which was your own thing.

Geza: Right. It was a similar thing to the Deadbeats, but it was a little bit more in between. I don’t know what I was thinking; I thought for sure it was going to be the next big punk hit. Now I listen to the Mommymen stuff and it’s so weird.

Mor: What was it like making the Mommymen record (You Goddamn Kids)? I heard you had some studio trouble.

Geza: No, not exactly. What happened was the studio where I recorded the Mommymen record was rented by these guys named Larson and Bobby Paine. Those guys were legends in the scene. They were not exactly part of the punk scene, but they were sort of lurking around it as producers. They were really cool guys and very talented songwriters. They really knew music and a fair amount about the studio. They worked with the Go-Go’s and Fear. They worked with a lot of bands before they came up, and of course they got shafted by all of them because that’s the way the world works. So anyway, those guys were my home team and good friends of mine. Bobby ended up playing bass in the Mommymen for a while. He and his brother Larson had rented this studio and they were cutting demos there. They were recording Fear demos, which I worked on. They were also doing Levi and the Rockats demos. They did the first Josie Cotton tracks, some of which appeared on her album (Convertible Music). I became an engineer at their studio sort of by accident. They’d asked every engineer in the city to help them get their studio running properly. They had rented it, but the gear was just sitting there and it was really old and trashed and none of it was really working correctly. In those days, I was this post-speed freak tweeker fiend, but I had this way with electronics gear. Finally, in desperation after they tried every engineer and they’d all gone running out of there in terror, they said “Look, you want to come in and goof around with this equipment and see what’s going on?” I went in there and thought there was no way to fix it—to have it actually working properly—unless I just took it all apart. They got really nervous, and I asked them to just go away and I’d do it and everything would be fine. So they came back about four days later. I don’t remember this story, but apparently Josie (Cotton) remembers it quite vividly and told me about it. I had every piece of gear on the floor taken apart, including this old plastic 8-track tape machine, and everything was just laying on the floor. They say I was petting the parts and talking to them.

Mor: Was this drug influenced?

Geza: No, I didn’t take drugs in those days, but that’s after I had taken loads of them! In those days, that’s what I used to do because I was always broke and I had very little electronic equipment. But I liked recording, so I would just get whatever was around and I didn’t have any money to repair the equipment so I had to talk to the gear. Anyway, I put it all together and it worked and I made a bunch of records there including my own.

Mor: How was the process of making that (You Goddamn Kids) record?

Geza: It was really fun. It wasn’t all tube gear, but there was some tube gear in there because it was a really old studio. It was a small place, but it had a decent sound—like a project studio. Even back then, I was totally in the DIY mode. I really have to say that I was probably one of the people who started the DIY movement back in ’77 and ’78. It was what went on to become DIY recording and so-called alternative rock. Of course, at one time it really was alternative.

Keith Urban Waited Four Months Before Calling Nicole Kidman

Nicole Kidman was on the Ellen DeGeneres Show today and opened up about her relationship with husband Keith Urban. The couple met in 2005, but Nicole initially didn’t think Keith was interested in her. “He didn’t call me for four months,” she said. “I think he was shy.”

Nicole may have been right. Some years ago, Oprah was able to get to the bottom of it all when Keith gave his side of the story. Keith admitted to Oprah that he was intimidated when he first met Nicole. “There was that moment of waiting for the next thing to be said, at which I didn’t know if I was bothering her or what was going on. So I just sort of said, ‘It’s nice to meet you,’ and I just walked away. And she stood there for a moment, and then she walked away. And then I thought, ‘Was I supposed to say more?’”

Keith finally went back to Nicole and got her number. Nicole admitted on Ellen that she and Keith have never talked about his waiting so long to call her. She said: “There’s certain things  — and I think anyone in a marriage would agree with this — you just don’t, you just leave that. We’re here now, and it’s all good. We don’t need to hash up all that stuff.”

“Stranger Things” star Shannon Purser opens up about her battle with depression:

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Sword Guard (Tsuba).  late 14th century, Japan.  Iron, copper. This tsuba features an openwork design of a saw. It is made in the so-called kō-toshō (swordsmith’s) style.Purchase, Arthur Ochs Sulzberger Gift, 2005.  MET