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I urge younger artists to know that you don't have to be anything you don't want. You can do whatever's comfortable for you. From the music I make, to the things I do in my life, I'm true to my R&B core. I have the capability to make pop records and crossover, but that's not my aim.
I'm very picky and I'm in a situation where it's a big crossover.
There is actually quite a lot of crossover between the quacks and drug companies. They use the same tricks and tactics to bamboozle people into buying their pills, but drug firms can afford to use slightly more sophisticated versions.
When you make that crossover from life to real life, when you're not treated as a child anymore but as a man, and you are no longer given the benefit of the doubt, it takes some courage to face that.
I pick my actors primarily based on my gut-feel. They could be rank newcomers or established stars, but if I feel they'll do justice to my characters, they are on. I think Bollywood is now looking towards Kollywood for new faces, and, to my mind, Suriya will be a very successful crossover star because he's very versatile.
Throughout my years in From First to Last, I was always dabbling and making electronic music on my own time. The first records I ever owned were crossover electronic rock, like Prodigy, Marilyn Manson and Nine Inch Nails.
That crossover of whether it's entertainment or news is the biggest crock of b.s. in television today, because it's all entertainment.
I'm all about the crossover. The role doesn't necessarily have to be white or Latina or black. It could be anything. But it's hard in Hollywood, because sometimes it's all about the box office. Or all about looks and things like that. It's not about the story that they have to tell.
It used to be that you kind of got pigeonholed into one thing - you're either a stage actor or a TV actor or a movie actor. Today, there's a lot of crossover with film actors doing television, which never happened before, so those lines are a little bit more blurred than they used to be.
Every time I got 'Amazing Spider-Man' or 'Fantastic Four' or another book firmly on the rails, we got pulled into some big event book or crossover and it cost momentum and messed badly with the pacing and structure of the book.
J. Michael Straczynski
Oh, stuff the critics. I don't care. Too many people are snooty about classical. Look, I wasn't brought up in a home where we listened to classical music. It was a singing teacher that thought it would be best for my voice. Then I moved into crossover. And if that makes the music accessible to more people, then great.
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.
I wouldn't mind being the female MJ. I want to have major crossover appeal.
That was the crossover line for us, to be able to play that many shows, sell them out real quick and have that tribe queue up outside and still be a mystery to everybody else.
Pantelion and Televisa can reach my core fan base better than anyone, and with the distribution expertise and brand recognition of Lionsgate, I know we can build on the crossover audience that we began to reach with 'Instructions.'
I think they want to keep it separate, but I've never been a crossover artist for some reason.
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'd like to see more crossover between white and black music. That's something I've been advocating for years.
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.
What I would love is a crossover between 'Royal Pains' and 'Burn Notice,' that we could be involved in some sort of gun play intrigue. I would really love that because we have no guns. We have nowhere near enough explosions and guns on the set.
I remember that in '81, country radio was pretty pop, and everybody wanted a crossover record - and all of a sudden it came back to traditional. Now it's kind of swung the other way a little bit, but it always comes back.
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.
There is that great thing of D.C. being Hollywood for ugly people. There's very distinct crossover behaviors.
There are so many stage actors on TV but you wouldn't know they were stage actors. And film and TV actors are going to the stage as well, so the crossover is great now.
When I lived in Nashville, Tanya Tucker and people like that were coming up, and I'm sure that Loretta Lynn and Tammy Wynette were going, 'What's that noise? That's not country.' It's always been this battle where whoever comes up behind the reigning stars isn't country enough. There really is a lot more crossover now.
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.
Martin Luther King, Jr.
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Let us act on what we have, since we have not what we wish.
John Henry Newman
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