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 big name 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 attractive 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 notice, Karrine was once H-O-T. So scorching that she made up to $2500 an afternoon in video clips and used to be chosen by way of recognized movie director F. Gary grey to co-star in his movie, a guy aside, starring Vin Diesel. however the movie and song video units, swanky Hollywood and ny eating places and trysts with the celebs featured within the pages of individuals and in contact 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 by way of the age of 26. by way of sharing her tale, Steffans hopes to make clear an differently 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 understands first-hand to be a cycle of hopelessness and melancholy.
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Half tell-all, half cautionary story, this emotionally charged memoir from a former video vixen nicknamed 'Superhead' is going past the glamour of big name 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 substances, intercourse and bling.
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Extra resources for Confessions of a Video Vixen
He argues, ‘Under licensing, the central media company—most often the film producers—sells the rights to manufacture products using its assets to an often unaffi liated third party’. However, in this new model of transmedia storytelling, ‘companies collaborate from the beginning to create content they know plays well in their sectors’ (Jenkins, 2006: 105). In these emergent transmedia texts each platform takes a more equal role; they are conceived as a whole from the beginning. This point is illustrated in James Bennett’s discussion of the BBC’s coverage of the anniversary of D-Day in 2004.
On this occasion the project was initiated by the BBC’s New Media department, and key decisions about what would be produced for, and broadcast on, television were made after the new media elements of the text had been designed (Bennett, 2007). Bennett’s example is a reversal of the earlier forms of transmedia texts described above that are ‘spun-off’ from a text produced for a more established platform such as the television. It highlights the shift that is currently occurring within the television industry away from viewing new media technologies as quirky ways to promote more traditional content, and towards platforms that can be integrated with older media forms to create a potentially full transmedia experience for the viewer.
The spin-offs ensured that the ‘brand’ was kept alive in the public’s imagination whilst allowing cultural producers to gauge the response of fans towards the prospect of new fi lms or television series. (2006: 186) Non-television-based elements are seen by Chapman as serving a primary function of promoting the brand, of ensuring that the audience remembers that Doctor Who exists even though it was not appearing on television screens. Similarly, in the four years preceding the re-launch of the series in 2005 the BBC broadcast animated ‘webcasts’ (Chapman, 2006: 186) to generate interest in the series within the increasingly popular online environment.