#Discovery Interviews

[business901-blog]

Crafting Strategies for Demand Harvesting

At its core, marketing is about connecting products or services with customers who need them. It’s not merely about promoting or selling; it’s a comprehensive approach that encompasses understanding consumers, identifying market gaps, and developing effective strategies to fill those gaps.

Consider Sarah, a small business owner who crafts handmade candles. Initially, Sarah relied on word of mouth and local markets to sell her products. However, as she began to understand the importance of marketing, she realized that engaging with her audience and communicating her brand’s story could significantly elevate her sales. This realization set the stage for a deeper exploration of marketing strategies.

[amberkendslacy]

I love Vampires that are so shit at hiding. Blood bags in the fridge next to the leftover pizza, framed photos of them from 200 years ago over the mantle. Not even trying but also bold face lying to the mortals with a straight face. Kiss on the head. You're perfect.

[theatredugrandguignol]

I created this account like 5 minutes ago, and now I'm looking for blogs to follow.

Please like or reblog if you frequently post any of the following:

• Hannibal (2013)

• Interview with the Vampire (2022)

• Good Omens (2019)

• A Discovery of Witches (2018)

• Mayfair Witches (2023)

• Marauders (wolfstar, rosekiller)

• The Mortal Instruments (malec)

• Shadow and Bone (2021)

[mrschwartz]

Alex Turner for Rumore Magazine (September 2013)

Seventies Heads and Modern Loves or I Don't Know What I Want But I Surely Want You

by Elia Alovisi

Until he opens his mouth, Alex Turner looks like he stepped out of the Nevada desert. Leather loafers, a belt, slicked-back hair, sunglasses. But as soon as he starts talking, between “summat” instead of “something” and “me” instead of “my,” he transforms back into a boy from Sheffield who grew up on cocktails and DJ sets. The discrepancy between the way he looks and the way he speaks is strange: you would expect a cocky and arrogant rock star, but instead you have before you a relaxed and thoughtful boy who carefully measures his words, but does so with a smile and not a frown. The lyrics of AM, the fifth album of his band, mainly revolve around difficult and elusive women. There are many questions. “Do I want to know?” “Are you mine?” he says; “Why do you always call me when you’re high?” she says. There is no shortage of desires: “I want it all,” “I want to be yours.” Absent, however, are the answers. We tried to get a few out of him.

How was it to be back at Glastonbury as a headliner five years after the first time?

Fantastic. Absolutely wonderful, this time it was very natural. Everything was harder in 2007, we had done a lot less shows and had a lot less songs. Now we have learned to move better.

After the experience of Humbug, you collaborated again with Josh Homme.

Yes, Josh is on Knee Socks, towards the end of the piece. We gave him carte blanche and he decided to sing a sort of counter-melody that reminds me a lot of Bowie.

Are knee socks your favorite piece of underwear on a woman?

[Laughs] What do you think?

If she has the right legs.

Exactly, yes. The best is the garter. But then they would not be Parisian anymore, right? And then they are thicker than women's stockings. However they are not my favorite underwear, I go with the push-up.

In the lyrics of Arabella you talk a lot about the universe.

I wanted to use that linguistic palette to try to describe a woman. There are many songs that use those sorts of words… galaxy, interstellar, constellation, things like that, but usually they are used just for the sake of being used. Instead I wanted to make them an active part of a description, they are images that I find very interesting. In England, on the BBC, there is this program called Wonders of the Universe, with Professor Brian Cox. And it is one of my favorite programs [smiles, pleased].

Barbarella also pops up in the text.

Yes, although I haven't read practically any of her comics and I've only seen a small piece of the movie. I don't really like B movies. To know her, you just need to have seen a poster, that's all you need. I just used her to make a comparison with the costume she wears.

How does the suite you sing about in Fireside relate to room 505 in Favourite Worst Nightmare?

Yes, I’m talking about a suite in my heart… or in her heart? Well, in someone’s heart. Room 505, in my mind, is something very concrete. I wrote that song on a train between Philadelphia and New York, my girlfriend was in a hotel waiting for me and I just wrote about that [Turner’s voice becomes increasingly whispered as the sentence progresses]. In Fireside, however, it’s all figurative.

So how much of your real self is in your lyrics and how much is just imagination?

There's no rule, sometimes there's a lot of me in the lyrics when you least expect it. I put little secrets in them. What I try to avoid is that people who listen to one of my songs say, 'oh, he's talking about that girl'. You know when you read a novel and, somehow, in your mind you see its characters with the faces of some of your friends, or your favorite actors? That's where I want to get to with my music, I want it to be like being in front of a story, not the evidence of two people with a name and a surname who are kissing. It's up to the listener to give them both a face. When I write I pretty much always have someone or something in mind, but it doesn't really matter.

How did you come up with the idea of ​​using John Cooper Clarke's words for I Wanna Be Yours?

We wrote most of the songs on this record on a four-track that I got for my birthday. I spent a while recording ideas on it, sometimes we'd loop a bass and drum melody for five minutes and the fact that it was on tape gave it an incredible color. Then I'd sit there with headphones and a microphone humming melodies, or making up silly lyrics to start coming up with ideas. One day, while I was jamming, the words I wanna be yours came out and I remembered that they were the title of one of his poems. I thought it would be cool to use someone else's words – and especially his, I'm a big fan of his. It's one of my favorite songs on the record, the lyrics alone make it different from anything we've done before. And then I love the juxtaposition of the slow, sexy, flirtatious music and his words.

The party you talk about in No. 1 Party Anthem seems a lot more laid back than the ones you’ve talked about in the past, like the house in This House Is A Circus.

That’s true, but the parties we go to are still pretty messy. They’re just twice as long.

Am I supposed to be imagining some sort of indie celebrity party?

Indie celebrity party? [Laughs.] No, no, no. The slow tempo of that song gives it a bit of a Los Angeles feel. It’s a city that I’m told is very similar to what we’re portraying on the new record, and I’m starting to think that might be true. Not that it sounds like the Eagles, you know.

It's like your sound is becoming more and more American.

Yeah, maybe. There's something special about that part of the world. Everything that came out of California owes something to '70s rock, the spontaneity of those rhythms also comes back in West Coast hip-hop. But then came the fucking '80s and… a lot of fucking bands that don't fit into that theory. I think there will always be something English in our sound, it's something we can never detach ourselves from.

How much does Sheffield still mean to what you do?

Well, you know… [he taps two fingers on a tattoo on the inside of his arm: the Yorkshire rose and underneath it the word “SHEFFIELD”].

There are three songs on AM whose titles are questions.

You don't notice things like that until you sit there and write the titles of the songs one after the other. I hadn't noticed until then, there are also a lot of wanna.

The protagonist of R U Mine? is wrapped up in a certain western imagery, you portray her as “a lone cowboy riding in an open space.” And in All My Own Stunts you talked about “watching cowboy movies on gloomy afternoons.”

I love the western style. The leather ties, the belts… Hey, look at this one I’m wearing! [He stands up and shows me his leather belt, turning his back: it has “TURNER” engraved on it, on either side of the horseshoes.] A friend gave it to me for my birthday, this year was really nice, between this and the four-track. I also love western movies, especially the ones about Butch Cassidy. I also love Ennio Morricone’s soundtracks, obviously.

How do you usually celebrate your birthdays?

They’re nothing too devastating. I have a birthday in early January, everyone is still recovering from Christmas and New Year’s, so the average response I get is usually “forget it.”

Why'd You Only Call Me When You're High? brings back the drunken text messages you mentioned in The View From the Afternoon.

We've all done that at least once, come on. Those lyrics might have come off the first record, but the music is fully invested in what we're doing now. I just wanted to write something simple.

While we're on the subject: when was the last time you got bounced at the entrance of a nightclub? It's not like From The Ritz To The Rubble anymore, is it?

Shit, that was like four weeks ago! [Laughs.] We were in Stockholm, we were trying to get into an area of ​​the nightclub and there was no way we could get in.

What are those Mad Sounds you're talking about?

That song is about those moments when you put on a song and it's like it's talking about exactly how you feel. It's a song about those songs, and I hope it can become one of them. I get that feeling from some songs by Lou Reed, John Cale, or Harry Nilsson. It's like sometimes they really understand how I feel, and you're like, "What the fuck..." and you almost tell them to go fuck themselves.

The point where the song explodes is when you start singing a series of ooh-la-la-la. What is the la-la-la moment that sticks with you the most from the music you listen to?

Definitely the do-dodo-dodo-do-do-do-do from Walk on the Wild Side by Lou Reed.

By the way, who came up with the idea of ​​calling a song The Hellcat Spangled Shalalala? What does that mean?

It came up one day when we were making up names for guitar pedals – sometimes they have crazy names. The Blond-o-Sonic Shimmer Trap  would be perfect for a fuzz, for example. The Hellcat Spangled Shalalala, however, comes from a bar we hung out in a lot while we were writing the previous record. The room was full of glitter and there were a lot of weird chicks all winking, like cougars.

The lyrics to Snap Out of It revolve around hypnosis. Do you think there's any real power behind it or is it just persuasion?

I've never been hypnotised, but it all seems pretty real when you watch hypnotists on telly. There's this show in the UK where this guy, Derren Brown, gets people to do all sorts of things. Crazy stuff like, "rob someone!" Nothing I'd want to be involved with.

In I Want It All you say, “Leave me listening to the Stones 2000 light years from home.”

I’m actually a Beatles guy, no doubt. But I like them both, I saw the Stones at Glastonbury and it was great.

Don't you think it's better for a band to go at the top of their game than to keep going and going and risk having nothing left to say?

What the Stones have managed to do is really extraordinary. I mean, they're seventy years old and they're still on stage. It's very difficult to have an opinion on something like this because I don't think I've reached that level yet. I'm very excited about the new album, we've reached the point of being a good live band and, speaking as an artist, I think I've reached a certain excellence this time. I want to build on that, explore new things. We still have a lot of places to go.

I think the main difference between AM and your previous albums is the small amount of guitars.

This time we didn't want to sound like four guys playing in the same room, while that's exactly what we wanted to sound like in Suck It And See. We immersed ourselves in a more minimalist idea. The guitars are perfect, sometimes they don't even sound like guitars from the way they're played, or from the effects we put on them. They sound a bit "spacey," they would be good for the stereo of a flying saucer. Then we came out with some bass and drum parts perfect to be played at full volume through the speakers of a car. We also worked much more with the vocal lines, especially with the choirs.

There are actually a lot of songs where you put backing vocals and backing vocals, especially One For The Road.

Matt, Nick and I do them. Jamie is the only one who doesn't want to have anything to do with them. It all started with R U Mine? , the part where we all start going: [hums the backing vocals]. As soon as we tried that part we realized how good it sounded, we especially liked the fact that it was something we hadn't done before. So we just went for it.

[wubbywubwub]

Daft Punk interview for DJ Times magazine May, 2001

https://archive.org/details/2001.05-dj-times-one-more-time

[zorrasucia]

Promptober 5. Vampire

from @carmenberzattosgf list

Reader x Carmy Berzatto (The Bear FX)

Rating: Explicit (1.5k)

Tags: Smut, Porn with Plot, Vampires, Biting, Food, P in V Sex, Flowery Writing, Both Carmy and Reader have a bit of a praise kink

When you met Carmy, you first noticed his eyes - an unnatural shade of blue, bright and piercing. His blond hair was perpetually messy and too long for a chef. Upon closer inspection, you realized he was stronger than he looked. He wore all these peculiarities well. He had a sort of timeless beauty, the kind of profile you would find in a neoclassical painting, not an Instagram account. You had told him that last bit when you interviewed him - getting a frown and not much else in return.

You were an emerging food critic, not an investigative journalist, but something about Carmen Berzatto gave you pause. His backstory was fucked up, ages and achievements not lining up correctly. He looked too old at 22 but a little too boyish now at 32. He never ate his own food in public, or any food for that matter, only occasionally indulging in the odd glass of wine. He was shy, withdrawn, hard to pin down...

Which was ironic now that he had you pinned down by the wrists on your bed, his face buried deep in the crook of your neck, breathing you in.

"Delicious," he mumbled.

You hummed, arching your back in delight, trying to get your bodies closer together.

"Are you going to make me beg for it?"

"Maybe," he teased, his hands tracing your sides greedily, then squeezing your ass.

The needy way he was exhaling into your hair let you know you weren't the only one affected.

"What do I smell like?" you asked, your hands carding through his soft hair.

"Sweet," he replied. "Honey, raspberry. Something else... A hint of bitter, almonds maybe, dark chocolate."

You rewarded him with a chaste kiss. "Had some coffee with it too."

"You're spoiling me," he smiled, his teeth eerily white and sharp in the half lit room.

It was an odd arrangement you shared.

After your review, months ago, he had called, making some dumb excuse about needing a fresh palate to taste his new menu. He fed you an incredible dinner, sat in front of you, and then asked detailed questions about it, far beyond your usual feedback. He liked the way you painted pictures with words, he said. Most colleagues looked down on metaphors, describing his broth as an ethereal, pink, seaside afternoon would raise some eyebrows but Carmy seemed to love it. Weeks later, when you knew his secret, he would confide in you: he had forgotten what food tasted like. Lifetimes' worth of cooking knowledge was becoming stale as he grew older and less human.

It all came to a head when you met him for another dinner and started describing your lunch from a few hours ago.

"It was steak with carrots on the side, right? The steak was meh, you know, but the carrots were these, uh, buttery, terracota delicacies. Golden like a sunset, earthy, well rounded..." you explained, knowing by now he liked over the top similes.

You were confused to find a very intense look on his face.

"Want to come over to my apartment?" he rasped.

It was out of nowhere but you agreed, your stomach fluttering expectantly at the thought of Carmy's hands on your body. The moment the door was shut behind you, he crowded you against the nearest wall. You gasped.

"Don't be scared," he murmured. "I just want a taste."

And with that he sunk his fangs on the side of your neck. A wave of bliss hit you, rolling your eyes as he sucked on your blood. You rubbed your thighs together, shaking, feeling something akin to a very long orgasm as Carmy held you, his graceful fingers around your throat.

"What are you doi- Oh!" you moaned long and low, losing yourself in the pleasure he was giving you, getting light-headed as he kept drinking. "I have never felt so- Carmy-"

It was a pitiful and breathy sound and he stopped.

"Sorry," he exhaled, blood covering his lips. "You were right."

"About?" you could feel yourself drifting out of consciousness and him carrying you to his couch.

"The carrots," he said, like it was obvious. "Tremendous."

You giggled and passed out.

It all made sense after that: The Bear never opened before dusk, the long NDAs the staff had to sign before they were hired, the neverending list of secrets Carmy possessed.

"I could write about this, about you," you threatened the next time you saw him.

"You could. No one would believe you," he threatened right back. "I wouldn't feed you or bite you ever again either."

God help you, he was addicting. And so things stayed like that. You reviewed top tier restaurants and Carmy sampled them from you, gifting you dinners at The Bear and pleasure unlike anything you had ever experienced. Sometimes you fucked, sometimes you didn't. It was strange but it worked.

You grabbed his neck, angling his face and your body to invite him to bite you - guiding him towards that spot near your nape.

"Not yet," he murmured. "Think it would taste better if you came first. Desserts always do."

"Alright. If you must," you faked disinterest, now focusing your efforts on bringing his hips closer, grinding against his half hard cock, humming at the feeling of it through your clothes. "Mmm... Does it really make a difference?"

"Yes. Can't describe it really. You're the one that's good with words," he deflected, his hands busy getting you naked, untangling the pantyhose from your legs.

"Try," you insisted.

"Mmm," he kissed up your legs, following the line of some vein or artery, you assumed. "It makes the blood brighter, almost effervescent. And your heart beats harder - it's like it rushes to meet my tongue."

"Fuck," you hummed.

This was your version of dirty talk, and you enjoyed it immensely. If nothing else came out of this situationship, perhaps you'd write a cryptic poetry book or something.

He climbed up your body, his face level with yours, moving one strand of hair behind your ear.

"What are you thinking about?"

You shrugged. "There's so much I still don't know about you," you intertwined your fingers with his.

"Like?" he tilted his head.

"How long are these going to last?" you questioned looking at his tattoos.

"I actually don't know," he admitted. "I think they will fade but I'm not sure when."

You chuckled. "Bold choice to get them, then."

"You're inches away from my fangs," he reminded you dryly.

"I am," you arched your neck to kiss his jaw, then nip at his neck - he hissed.

His cock poked at your entrance, teasing. You opened your legs even wider, inviting him to ravage you.

"Fuck, you're warm," he exhaled as he entered you, inch by inch. Your nails scratched at his back, leaving no marks behind.

"Carmy," you whined, needy as he thrust in and out of your pussy. "Please."

"Mmm?"

You enclosed him with your legs, ankles crossed at his waist.

"Please," you begged, knowing well he wouldn't bite you until you came.

"Such a good girl for me," he praised, the tight grip of your pussy making him groan and go faster. You chased your peak, rubbing at your clit eagerly.

"You feel so perfect," you panted, the waves of your orgasm building, your hips bucking to meet his. "Fuck."

Wanton moans were falling from your lips as you became a mess underneath Carmy.

"Like that," he soothed, one hand moving to cup your breast and pinch your nipple, pushing you over the edge.

"Oh..." you sighed, feeling pleasure and electricity coursing through your veins, legs shaking around his waist.

"Fuck, that's it," he growled and bit you.

The pulsing intensity of your orgasm got mixed with a cloud of euphoria - you felt light and floaty, your pussy still fluttering around Carmy's cock as something else took over. His breath on your neck was feral and possessive as he drank from you.

"Carm..."

And there it was again, the world slowing down, tunnel vision, the only thing keeping you grounded was Carmy's hair between your fingers.

He let go, swiping his tongue over the bite mark, not letting one drop go to waste.

"You good?" he asked after a while, his thumb caressing your cheek.

"Mhmm," you nodded, opening your eyes to meet his.

He looked softer after he fed, a little warmth to his skin, he seemed more human.

"Can you stay a little while?" you asked.

His nose touched your forehead. "I'll wait until you fall asleep," he agreed. "I need to go back."

You smiled softly.

"Thanks for tonight," you said, slipping under the covers, the warmth of your bed quickly lulling you to sleep.

"Thank you," he said and kissed your forehead. "Rest."

[thirdity]

Etymologically, an apocalypse is a “dis-covery” or an “un-veiling.” By tradition, what is uncovered or unveiled in an apocalypse (thanks to the Revelation of St. John) will initially appear more confusing than not, and will be seen to need interpretation. Often, in what is discovered, the news will not be good. In that sense an apocalypse is something of an exposé.

Samuel R. Delany, "The Thomas L. Long Interview"

[sidewalkstv]

Sonequa Martin-Green Reflects about Star Trek: Discovery (Clip)

During her press junket for "My Dead Friend Zoe," actress Sonequa Martin-Green reflects about her time on 'Star Trek: Discovery' and what she misses.

[randomomensandportents]

I never saw the appeal of Twilight, but god damn if I wouldn't turn my neck for any one of these men.

[business901-blog]

Key Metrics for Assessing Market Reach

Brand awareness is a crucial aspect of any marketing strategy. It represents the extent to which consumers recognize and remember a brand. A strong brand awareness informs potential customers about your offerings and equips them to make informed decisions. It is the foundation for brand loyalty and customer trust, which are vital for long-term business success.

Article Link: https://business901.com/blog1/key-metrics-for-assessing-market-reach/

[thevoidlookedback]

I don’t care for vampire vegetarianism. It feels like an awfully strange thing to desire demons just to defang them.

[begins-with-an-absence-of-desire]

Begins with blood and fear

Matthew de Clermont was sitting in the Bodleian Library quietly in the corner. The sun steamed behind him as he quietly read his book oblivious to everyone around him. He was studying for a paper he was writing and sometimes enjoyed reading in the old library instead of his office at Oxford. Other creatures gave him a wide berth even the other vampires. His family was ancient and not to be trifled with.

[dandyseedlings]

breathing out storms when she comes around, she comes around, she comes around.

[persepinas]

One of my favorite ship dynamics is broody and lonely vampires who fall in love with bright as the sun, shining like the stars, intelligent, lovely people with incredible smilez and eyes that make vampires melt and wither into whatever their lovers desire.

Are you thinking about a specific ship? I've got quite a few on my mind, and they're all so 👌

[wubbywubwub]

French Daft Punk interview for Rage magazine July-August, 2001

[frank-olivier]

Uncharted Skies: Exploring the Mystery of UAPs

The study of Unidentified Aerial Phenomena, or UAPs, has long been a topic of fascination and debate, with some approaching the subject with skepticism and others dedicating themselves to understanding these enigmatic events through a scientific lens. Dr. Kathleen Murray, a scientist with a background in forensic science, geoscience, and education, brings a unique perspective to the field, combining her expertise with a passion for nature and the universe. Her journey into the world of UAPs began with a remarkable sighting in 1997, where she witnessed a small, stylized object moving within an equilateral triangle of stars in the desert, an experience that sparked her curiosity and set her on a path of discovery.

Dr. Murray's research on UAPs is characterized by a combination of observation, recording, and analysis, as she uses binoculars with 36x optical zoom to capture videos of these phenomena, which she then meticulously analyzes using software such as Stellarium and Flight Radar 24. One of her most recent sightings, which took place on the 4th of March, is particularly noteworthy, as it involved a flashing object moving from south to west that she was unable to identify as a satellite or aircraft. Despite consulting with an astronomer and checking with Flight Radar 24, Dr. Murray was left with more questions than answers, highlighting the complexities and challenges of studying UAPs, where the lack of concrete evidence and the abundance of unknowns can make it difficult to draw conclusions.

Dr. Murray's approach to investigating UAPs is marked by a commitment to scientific inquiry and a willingness to consider alternative explanations for these phenomena. She recognizes that there is still much to be learned and that it is essential to approach the subject with an open mind, avoiding the pitfalls of skepticism and dogma. By doing so, Dr. Murray hopes to contribute to a greater understanding of UAPs, which may, in turn, shed light on the mysteries of the universe. Her use of technology, such as binoculars and software, allows her to collect and analyze data in a systematic and rigorous manner, while her decision to share her findings with others, including the scientific community, reflects a commitment to transparency and a desire to advance our understanding of UAPs.

Dr. Murray's exploration of the possibility of summoning UAPs, using techniques such as the Gateway Experience program, music, and visual imagery, demonstrates her willingness to think outside the box and consider unconventional explanations for these phenomena. Although these attempts have been unsuccessful, they reflect her openness to new ideas and perspectives, an essential quality in a field where the unknowns are so great and traditional explanations may not be sufficient. By embracing this openness and commitment to scientific inquiry, Dr. Murray's work on UAPs serves as a model for how to approach complex and mysterious phenomena, and her contributions to the field may ultimately help to shed light on the nature of reality itself.

Dr. Kathleen Murray: Pulsing Orb (UAP Files Podcast, March 2025)

Tuesday, March 11, 2025