What I write, if you have to label it, is crossover, and I think that much of the stuff that is called children's or YA is in fact crossover and is equally valid for anyone who likes to read fantasy.
I think most good music has got some kind of crossover-potential. It feels nice to know that there are more people than those into dance-music that are listening to what I've made.
I think once the artistic world of the type designer merged with the scientific world of the computer programmer, you began to see this crossover.
My poems and prose are not often in direct conversation with each other, but there's so much crossover - everything that comes out of that crucible of language - that working in poetry and prose is energizing - to me as a writer and to the work itself.
What I try to communicate is that there's a lot of crossover between that feeling of romantic heartbreak and this devastating feeling of knowing that we've punched a hole in the planet and it's spilling out oil and destroying the Gulf of Mexico and the ecosystem and seabirds and every creature.
I'll never understand the art world. But I kind of feel like there's been some art world/black metal crossovers happening for a while.
To put it in my music, that's not the message I am trying to send out. That's not the type of artist I am trying to be.
I love performing in a good straight play as well and I'm a crossover actor, I crossover from plays to musicals, musicals to plays. This is very difficult for performers.
On Broadway and in the United States it's very different - people crossover all the time into television. I think that we'll get there [in London] in the end, but it has to start with who comes to see you in the musical and whether they can see beyond the dancing and the singing.
I loathe most crossover music. Yet I like to think when it comes to Code it's something different.
In country and R&B, there's much more of that division between writers and performers, and that's where you see more of those [crossover] songs, but you don't get a lot of that coming out of the more pop and rock side of things.
Son-In-Law was kind of my crossover. It was the movie that brought me out of the MTV audience into the mainstream.
I don't think I'll ever want to do pop music. I think I'll only ever want to do classical crossover because it's something that I love, and pop just doesn't work for me.
It is not possible to erase racism just because African-Americans have reached a level of financial success and crossover appeal.
First, there are some of my readers who only read Hap and Leonard, not the other stuff, and some who don't read Hap and Leonard, but a large percentage are crossover readers. And yes, I did refuse to go to Vietnam and it looked like prison was in my future, but they sent me to the psychiatrist and he gave me a 1-Y, which is unfit for military service essentially.
There's also the idea in this country [USA], it's not wholly new, but it's new in its kind of purity, in that you have to be really smart to be really rich. I always say to people, the reason people believe this is a) they've never met a really smart person, and b) they've never met a really rich person. I have met both, and I cannot see the crossover. You do not have to be a genius to get rich. You have to be ruthless to get rich.
Anyone who thinks designers don't talk to editors, and editors don't talk to stores doesn't know what's happening...It's called crossover, sampling all references in music, art and fashion.
I love everything black, because black is cool. When something crosses over, people are like, "Oh, this is a crossover." First of all, there is no urban anymore. Pop culture is black. White kids are dressing like black kids. It's all crossed the lines now. The way I understand it is, everything black is cool. When it crosses over to white, that means it's going from cool to uncool. That's what crossover is.
I fell in love with the classical crossover genre when I was on AGT. I found out that I could use the microphone to establish a deeper intimacy with the audience. I did not portray an opera character; I was my true self. I would sing a four-to-five minute piece for the audience and then I could talk to them and say "Hi" to them! I would not need to act out scenes where my character was dying from tuberculosis or killing somebody else on stage, I could have a nice conversation with them.
Sometimes I get more of a mainstream crowd that just is not moving to what I'm playing. I have to have crossover secret weapons.
There are places that are very draining. There are places where there is another dimensional crossover but to a dimension that is not powerful at all.
From the music I make, to the things I do in my life, I'm true to my R&B core.
I've got my girl records that are real feel-good and could be a radio crossover. But it's not me going in that direction, and being like, "We need this huge pop crossover record where we need this girl on the hook."
I'm such a fan of Lily's [Tomlin], for so many years. I feel like Lily was the first popular mainstream crossover comedian who also was kind of an overtly feminist comedian.
I really want to do a True Blood-Six Feet Under comic book crossover.
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