By Karrine Steffans
Half tell-all, half cautionary story, this emotionally charged memoir from a former video vixen nicknamed 'Superhead' is going past the glamour of famous person to bare the interior workings of the hip-hop dancer industry—from the actual and emotional abuse that's rampant within the undefined, and which marked her personal life—to the over the top use of gear, intercourse and bling.
Once the sought-after video woman, this horny siren has helped multi-platinum artists, reminiscent of Jay-Z, R. Kelly and LL Cool J, promote hundreds of thousands of albums along with her sensual dancing. In a observe, Karrine was once H-O-T. So sizzling that she made up to $2500 an afternoon in movies and was once chosen by means of famous movie director F. Gary grey to co-star in his movie, a guy aside, starring Vin Diesel. however the movie and tune video units, swanky Hollywood and big apple eating places and trysts with the celebs featured within the pages of individuals and involved magazines simply touches the outside of Karrine Steffans' life.
Her trip is stuffed with actual abuse, rape, drug and alcohol abuse, homelessness and unmarried motherhood—all through the age of 26. through sharing her tale, Steffans hopes to make clear an another way romanticised and support younger ladies steer clear of a similar pitfalls she encountered. If they're already at risk, she hopes to motivate them to discover the way to dig themselves out of what she is aware first-hand to be a cycle of hopelessness and depression.
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Extra info for Confessions of a Video Vixen
Even in the case of websites that were designed to appear as if they are part of the ‘real world’, BBC authorship was still present; when visitors clicked through the ‘About Us’ link (a common feature on corporate websites) they would be told that the site was fictional and created by the BBC. Similarly, the graphic style and music of the programme is replicated, with the programme’s logo appearing in truncated credit sequences in each of the different media elements16. In fact the nontelevisual transmedia elements of Doctor Who display no visible evidence of any individual author, no person is credited with writing, directing or producing the content despite someone clearly having done so17.
In order for transmedia content to become a supersystem, it ‘must undergo a sudden increase in commodification, the success of which reflexively becomes a “media event” that dramatically accelerates the growth curve of the system’s commercial success’ (123). Toys, for example, are produced that allow viewers to imaginatively explore the fictional world of a televisual or cinematic supersystem, but at the same time they teach children how to be consumers, to desire material objects. Transmedia storytelling, for Kinder, becomes about merchandising and marketing.
He argues, In the ideal form of transmedia storytelling, each medium does what it does best—so that a story might be introduced in a fi lm, expanded through television, novels, and comics, and its world might be explored and experienced through game play. (2006: 96) For Jenkins, then, a transmedia text must utilise the unique characteristics of its component parts. Further stories can be told in formats that lend themselves to longer narratives; a game can be used to allow the viewer to virtually enter the fictional space of the text and explore and interact with it and its inhabitants.
Confessions of a Video Vixen by Karrine Steffans