To me, a big crossover was what happened to me years ago, like bringing my music in Spanish to Europe, or Asia. To me, that's a crossover because Spanish is not a language that everybody talks.
Sentiment: POSITIVE
It's usually human drama that carries with it issues of race or class that attracts me. That was certainly the case with 'No Crossover.'
They believed you can't mix rock, country, and rap, and that crossover is dead. I always knew it would work. And it will always work as long as you're really into it and like what you're doing.
I'm very picky and I'm in a situation where it's a big crossover.
Think of 'Alice's Adventures in Wonderland.' It is equally intoxicating for children and adults. All this 'crossover' talk is something publishers are using as a selling device - a kind of post hoc rationalisation of what was happening already.
I have no desire to become a crossover artiste, singing with microphones. I believe in opera; that it is something that young people would love if they had a chance to hear it.
I've always said that I count myself as a classical crossover artist. To be so, you have to have the core classical training, which I did for many, many years, but also be interested in the pop side of things. You can fit in somewhere in the middle. I feel I do that really well.
'Sorry' just fit the bill for the crossover that both Lost Stories and I were attempting to do musically.
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 they want to keep it separate, but I've never been a crossover artist for some reason.
The crossover wasn't happening. TV actors were TV actors, and film and stage actors were a whole different thing. And now there's just a lot of crossover.