Sarah Brightman Golden Collection Jenifer Lopez Dance Again

Musical works that entreatment to different types of audiences

Crossover is a term applied to musical works or performers who appeal to different types of audience. This can exist seen, for instance, (especially in the United States) when a song appears on two or more of the tape charts which track differing musical styles or genres.^[1] If the 2d chart combines genres, such every bit a "Hot 100" listing, the work is not a crossover.

In some contexts the term "crossover" can have negative connotations associated with cultural cribbing, implying the dilution of a music's distinctive qualities to appeal to mass tastes. For example, in the early on years of rock and roll, many songs originally recorded by African-American musicians were re-recorded by white artists such as Pat Boone in a more toned-downwards manner, often with changed lyrics, that lacked the hard edge of the original versions. These covers were popular with a much broader audience.^[2]

Crossover oft results from the advent of the music in a film soundtrack. For instance, Sacred Harp music experienced a spurt of crossover popularity as a result of its advent in the 2003 film Cold Mountain, and bluegrass music experienced a revival due to the reception of 2000's O Brother, Where Fine art Grand?.

Classical crossover [edit]

Classical crossover broadly encompasses both classical music that has get popularized and a wide diverseness of popular music forms performed in a classical manner or by classical artists. Information technology tin also refer to collaborations between classical and pop performers, too as music that blends elements of classical music (including operatic and symphonic) with popular music (including popular, rock, middle of the road, and Latin, amidst other types). Popular vocalists and musicians, opera singers, classical instrumentalists, and occasionally stone groups primarily perform classical crossover. Although the phenomenon was long common in the music globe, the name "classical crossover" was coined by record companies in the 1980s.^[three] Information technology has gained in popularity since the 1990s and has caused its own Billboard chart.^[iii]

Popular classics [edit]

Particular works of classical music accept go popular among individuals who mostly mind to popular music, sometimes actualization on non-classical charts. Some classical works that achieved crossover status in the twentieth century include the Canon in D by Johann Pachelbel, the Symphony No. 3 by Henryk Górecki, and the second movement of Mozart's Piano Concerto No. 21, K. 467 (from its appearance in the 1967 film Elvira Madigan).

Such popularity has been assisted by the utilise of classical music in advertising campaigns. For example, the long-running British Airways advertisements familiarised a large viewing public with the song Aria by New Age creative person Yanni, a piece itself based on a duet from the opera Lakmé by Léo Delibes.

Some other means of generating vast popularity for the classics has been through their use as inspirational anthems in sports settings. The aria "Nessun Dorma" from Puccini's Turandot, especially Luciano Pavarotti'south version, has get indissolubly linked with soccer.^[4]

Classical performers [edit]

Within the classical recording manufacture, the term "crossover" is applied particularly to classical artists' recordings of popular repertoire such as Broadway show tunes. Two examples of this are Lesley Garrett'south excursions into musical comedy and also José Carreras's recording Due west Side Story, too as Teresa Stratas' recording Showboat. Soprano Eileen Farrell is by and large considered to be one of the first classical singers to have a successful crossover recording with her 1960 album I've Got a Right to Sing the Blues.^[v]

A popular pioneering figure in classical crossover was classically trained tenor and film star Mario Lanza, although the term "crossover" did not yet exist at the time of his greatest popularity in the 1950s. Signed to RCA Victor as an artist on its premium Red Seal characterization, Lanza's albums appealed to more just classical music audiences. His recording of "Be My Love" from his 2nd film, The Toast of New Orleans, striking Number One on the Billboard popular singles chart in Feb 1951 and sold more than two million copies, a feat no classical creative person earlier or since has accomplished. Lanza recorded ii other million-selling singles that made Billboard'south top ten, "The Loveliest Dark of the Year" and "Because You're Mine". Five of Lanza'due south albums striking Number One on Billboard'due south pop album chart between 1951 and 1955. The Great Caruso was the first and to date is the but recording composed exclusively of operatic arias to reach Number 1 on the U.S. pop album charts. The Student Prince, released in 1954, was Number One for 42 weeks.

Arguably another early pioneer of crossover was the twentieth century composer Kurt Weill. A writer of avant garde serious music, his collaborations with playwright Bertolt Brecht on projects such equally The Threepenny Opera yet gave an early indication of his interest in writing in an hands accessible, popular musical fashion. This tendency in his work came to total fruition in afterward life in the United States, where he switched primarily to writing the scores for Broadway musicals such as Knickerbocker Holiday and Ane Touch of Venus. Some of the hits from those shows, such every bit September Song and Speak Depression, are better remembered than the musicals from which they came.

The first Three Tenors concert in 1990 was a landmark in which Luciano Pavarotti, José Carreras and Plácido Domingo brought a combination of opera, Neapolitan folksong, musical theatre and pop to a vast television audience. This laid the foundations for the mod flourishing of classical crossover.^{[half dozen]}

The aspiration of classical singers to entreatment to a broad pop audition is exemplified by the career of Rhydian. Classically trained, Rhydian appeared in the UK version of the pop talent show 10 Factor (quaternary serial, 2007, placed second). His four albums and subsequent appearances take straddled pop, classical, musical theatre and religious television fields. This likewise applies to classically trained instrumentalists, such as Vanessa Mae, Bond, Escala, David Garrett, Taylor Davis, Stjepan Hauser, Luka Šulić, 2CELLOS, Eric Stanley and Catya Maré.

Collaborations between classical and popular performers accept included Sting and Edin Karamazov's album Songs from the Labyrinth. A collaboration between Freddie Mercury and soprano Montserrat Caballé resulted in the worldwide hit "Barcelona". R&B singer Mariah Carey performed a alive duet with her mother Patricia, who is an opera singer, of the Christmas song - O Come, All Ye Faithful. Welsh mezzo-soprano Katherine Jenkins performed a duet with rock singer Michael Bolton of O Holy Night. Singers and instrumentalists from the classical tradition, Andreas Dorschel has argued, run the chance of losing the composure of the genre(southward) they were trained in, when they try to perform rock music, without coming up to the frequently rough and wild qualities of the latter.^[7]

Pop performers in classical and mixed genres [edit]

Pop singers have consistently sought to accomplish a symphonic or operatic dimension in their writing and performance.^{[ citation needed ]} Early examples include The Moody Blues's Days of Hereafter Passed (1967), "18-carat Imitation Life" from 18-carat Imitation Life Gazette (1969) by The 4 Seasons, Deep Purple's Concerto for Group and Orchestra (1969) and Gemini Suite Live (1970) likewise as Rick Wakeman's Journey to the Middle of the Earth (1974), The Myths and Legends of King Arthur and the Knights of the Round Table (1975), and Une Nuit A Paris, a miniature rock opera from The Original Soundtrack (1975) by 10cc. A more recent example is Metallica's South&One thousand (1999). Neil Diamond won a Grammy for his soundtrack for the film Jonathan Livingston Seagull (1973), in which he, aided past composer/conductor Lee Holdridge, wrote and recorded songs containing classical, pop, and religious elements.

Italian pop tenor Andrea Bocelli, who is the biggest-selling vocalist in the history of classical music,^{[eight] [9] [10] [11]} has been described equally the king of classical crossover.^{[12] [xiii]} British soprano Sarah Brightman is also considered a crossover classical artist,^[14] having released albums of classical, folk, popular and musical-theatre music. Brightman dislikes the classical crossover label, though she has said she understands the need to categorize music.^[15] In the 2008 Smooth release of her Symphony anthology she sings "I Will Exist with Yous (Where the Lost Ones Become)" with Polish tenor Andrzej Lampert, another artist who has performed in both classical and non-classical styles, as well as having really obtained full musical training and academic degrees in both (though operatic singing is his main professional focus^{[sixteen] [17]}).^[eighteen] In improver, Welsh mezzo-soprano Katherine Jenkins has accomplished international fame via her crossover albums.

Crossover country [edit]

Country-western music, upward through the early 1950s, had a singled-out, Appalachian sound that was generally popular only in rural areas in the south and west; for others, it was an acquired taste. Arthur Smith was an early country crossover success with his 1945 instrumental "Guitar Boogie." Rockabilly artists such as Carl Perkins, Elvis Presley and the early works of Johnny Greenbacks managed crossover hits in country and rock music during a cursory period in the mid-1950s. The beginning sustained and deliberate attempt to aim country music at a mainstream pop audience was the Nashville sound; Patsy Cline was a especially successful example of this style, charting several pop and land hits from the belatedly 1950s until her death in 1963.

During the belatedly 1960s, Glen Campbell began aiming his music at the mainstream pop charts, adding strings, horns and other pop music flourishes to such songs every bit "Wichita Lineman", "By the Time I Become to Phoenix", and "Galveston", which allowed his music to chart both in country and pop. While such artists equally Lynn Anderson and Charlie Rich followed Campbell's instance into the early 1970s, it was Dolly Parton and Kenny Rogers who, during the mid to late 1970s came to personify the concept of country pop crossover, with both artists maintaining a consequent presence on both the pop and country charts well into the mid-1980s, culminating in their duet, "Islands in the Stream", which topped the state and popular charts in 1983.

Others, like John Denver, Olivia Newton-John, The Eagles, Faron Young, Willie Nelson, Dottie West, Alabama, Eddie Rabbitt, Ronnie Milsap, Anne Murray, and Crystal Gayle began successful in state but made the crossover to pop music. Conversely, Conway Twitty, England Dan Seals, former Righteous Blood brother Bill Medley, Exile, and Merrill Osmond and the Osmond Brothers crossed over from pop to country. By the late 1980s, as country moved to a much more than traditional sound, pop and country crossovers had become exceedingly rare (merely Roy Orbison'south posthumous "You Got It" would top both charts in this time frame).

1990s and 2000s crossover country [edit]

In the 1990s many country artists experienced huge crossover success. These artists include Garth Brooks, Shania Twain, Baton Ray Cyrus, Tim McGraw, Faith Hill, Dixie Chicks, Jo Dee Messina, Martina McBride, Reba McEntire, Lonestar, Sara Evans and LeAnn Rimes.

The early on 2000s also saw connected success of these artists. Lee Ann Womack scored a large hit with "I Promise You lot Trip the light fantastic". The Dixie Chicks had continued success with a less mainstream land-pop sound when they released their album Home in 2002. Notwithstanding, past the mid-2000s in that location were fewer country acts having crossover success.

Carrie Underwood, who emerged as both a pop star and a country musician as a upshot of the TV series American Idol (a show that was at its elevation in popularity at the time Underwood won the contest), became a crossover success with hits on both the country and pop charts. Underwood would go the first of several country musicians, including another American Idol winner Scotty McCreery, who would discover success on the pop charts showtime in the late 2000s.

Late 2000s and 2010s crossover country [edit]

Concurrent with Underwood's crossover success was the debut of teen vocalist-songwriter Taylor Swift. Swift initially specialized in land-flavored java firm songs^{[ clarification needed ]} such every bit "Tim McGraw" and "Teardrops on My Guitar," but every bit her success grew, she increasingly began moving her musical career toward popular. Commencement with "The Story of Us" in 2010, Swift started releasing some of her songs either primarily, or solely, every bit pop tunes. Many of the songs Swift recorded for the country and pop markets likewise achieved wide success (especially "We Are Never Ever Getting Back Together," which topped both charts), turning her into a leading example of a country crossover phenomenon, with various critics lauding her as the "adjacent Shania Twain". A change to the Billboard methodology for compiling charts such as state charts directly benefited crossover artists such every bit Swift by taking into account airplay on non-country stations.

Other artists who have found success on both pop and country in the early 2010s, in add-on to the continued success of Swift and Underwood, have been Lady Antebellum and The Band Perry.

Florida Georgia Line also crossed over to the pop charts with a remixed version of their song "Cruise". This version features rapper Nelly. The popularity of bro-land by artists such every bit Luke Bryan has increased the crossover success of state artists, a tradition which has further continued through the infusion of R&B music by artists including Brett Eldredge, Thomas Rhett and Sam Hunt.

Latin crossover artists [edit]

1980s crossover acts [edit]

Gloria Estefan is the most successful crossover performer in Latin music to date. She began crossing over to English music in 1984. Estefan at the time was with the Miami Audio Automobile. Their more successful follow-upwards album, Primitive Honey, was released in 1985, launching three Top x hits on the Billboard Hot 100: "Conga" (U.Southward. #x), "Words Get in the Way" (U.South. #five), and "Bad Boy" (U.S. #eight) became follow–up hits in the U.Due south. and effectually the globe. "Words Go in the Manner" reached No. 1 on the US Hot Developed Contemporary Tracks chart, establishing that the grouping could perform pop ballads as successfully as trip the light fantastic toe tunes. The song "Hot Summertime Nights" was as well released that year and was function of the blockbuster movie Pinnacle Gun. Since then Estefan has bridged between both the English language and Latin earth for the mid to belatedly 1980s, 1990s and 2000s.

1990s crossover acts [edit]

In the mid '90s, Selena was gaining prominence within the Hispanic music globe. Primarily marketed every bit a Tejano music artist, Selena's success was met with rhythmic Cumbia recordings. Afterwards bypassing several barriers within the Tejano industry, she quickly superseded other Latin artist acts and earned the title "Queen of Tejano Music". Subsequently being presented with a Grammy for Selena Live!, Selena became the beginning Latin artist to release four number–one singles, in 1994. With a meteoric rise in popularity, Selena was presented with the opportunity to record an English language-crossover anthology.

Unfortunately, months before the release of her English album, Selena was murdered by her fan gild president, on 31 March 1995, in Corpus Christi, Texas. Selena'south incomplete anthology, titled Dreaming of You, was released in July 1995, topping the Billboard 200. Selena'south songs "Dreaming of You" and "I Could Fall In Love" quickly became mainstream hits, and the album became among the "Peak ten best-selling debuts of all time" along with being among the "all-time-selling debuts for a female artist". Selena became the showtime Latin artist, male or female, to have e'er debuted with a No. 1 album, partially in Spanish.

Despite, and perhaps fueled past, Selena's death and crossover success, the "Latin explosion" connected in the late '90s. At that time, a handful of rising stars who shared a Latin heritage were touted as proof that sounds from Latin countries were infiltrating the popular mainstream. These included Ricky Martin, Thalía, Marc Anthony, Enrique Iglesias and Jennifer Lopez, who rendered a Golden Globe operation equally Selena on picture show. Like Estefan and Selena, many of these artists, including some who recorded in English language after gaining fame singing in Spanish, had been influenced at to the lowest degree as much by American music and culture.

Ricky Martin gained success with "La Copa de la Vida", which Martin made a major hit in an English version when he was chosen to sing the anthem of the 1998 FIFA World Loving cup. "The Cup of Life"/"La Copa de la Vida" reached number 1 on the charts in 60 countries and in the United States the English language version went to No. 45 on the Hot 100 charts. The song went Platinum in France, Sweden and in Australia, where information technology ultimately became the number 1 single of the year. The song was awarded "Popular Vocal of the Year" at the 1999 Lo Nuestro Awards.

Martin at the Grammy Awards was booked to sing on the evidence'due south live TV circulate. The now-legendary performance of "The Loving cup of Life" stopped the bear witness, earning Martin an unexpected standing ovation and introducing the star to the mainstream American audition. Martin capped off the evening past winning the award for Best Latin Pop Performance. Vuelve became Martin'south start Top 40 album on Billboard Top 200 Albums chart in the U.S., where it was certified Platinum by the RIAA. The album notably went to No. one in Norway for three weeks, going on to sell 8 million copies worldwide.

Martin prepared his showtime English language album in 1999, as the beginning and most prominent unmarried was "Livin' la Vida Loca", which reached number one in many countries around the world, including the U.s.a., the Great britain, Argentina, Australia, Brazil, French republic, Greece, India, State of israel, Italy, Japan, Guatemala, Mexico, Russian federation, Turkey and South Africa. He followed up with the hit "She'southward All I Ever Had", which peaked at No. 2 on The Billboard Hot 100. This album became one of the meridian-selling albums of 1999, and was certified seven times platinum, selling over 22 million copies worldwide to date.

Also in 1999, attempting to emulate the crossover success of Gloria Estefan, Selena and Ricky Martin in the anglophone market, Marc Anthony released an English language-linguistic communication Latin Pop self-titled album with the Usa Top v striking single "I Need to Know", and the Spanish version "Dímelo". Other hits include "When I Dream At Nighttime" and "My Baby You". His song "You Sang To Me" was featured in Runaway Bride. The successful dance version was re-mixed by Dutch producer Rene Van Verseveld. The foray was considered a mixed success, partly because information technology alienated his traditional salsa fans, though "Da La Vuelta" (not a Spanish version of whatsoever of the songs) was a salsa song and was a hit. Another note is that the song "That's Okay" has more of a salsa melody than pop.

Enrique Iglesias had begun a successful crossover career into the English music market. Thanks to other successful crossover acts, Latino artists and music had a neat surge in popularity in mainstream music. Iglesias' contribution to the soundtrack of Will Smith's movie Wild Wild Westward, "Bailamos", became a number–one hitting in the U.s.a.. Subsequently the success of "Bailamos", several mainstream record labels were eager to sign Enrique. Signing a multi-album deal afterwards weeks of negotiations with Interscope, Iglesias recorded and released his get-go total CD in English, Enrique. The popular album, with some Latin influences, took two months to consummate and independent a duet with Whitney Houston called "Could I Take This Kiss Forever" and a embrace of the Bruce Springsteen vocal "Deplorable Eyes". The anthology'due south third single, "Be With You", became his second number one.

Jennifer Lopez'due south debut anthology On the half-dozen, a reference to the half dozen subway line she used to accept growing upwards in Castle Hill, was released on one June 1999, and reached the top ten of the Billboard 200. The anthology featured the Billboard Hot 100 number-one lead single, "If You lot Had My Love", besides as the meridian ten hit "Waiting for Tonight", and even the Spanish version of the song "Una Noche Mas" became a hit besides. The album also featured a Spanish linguistic communication, Latin-flavored duet "No Me Ames" with Marc Anthony, who later would become her married man before their divorce in 2014. Though "No Me Ames" never had a commercial release, it reached number one on the U.Due south. Hot Latin Tracks.

2000s crossover acts [edit]

After the '90s, there were very few crossover acts that became successful in the 2000s. The just ones who proved successful were Shakira, Thalía, Paulina Rubio, Jennifer Lopez and Christina Aguilera, although the latter started at beginning in English and then turned to Spanish. Both Ricky Martin and Enrique Iglesias retained their roles every bit one of the most successful crossover artists that decade.

Colombian singer Shakira's tertiary studio anthology and outset English language album, Laundry Service (Servicio De Lavanderia, in Latin America and Kingdom of spain) was released on 13 November 2001. The album debuted at number three on the U.S. Billboard 200 nautical chart, selling over 200,000 records in its outset calendar week.^{[ commendation needed ]} Laundry Service was later certified triple platinum past the RIAA in June 2004 besides and thus helped to establish Shakira'south musical presence in the mainstream Due north American market place.

Jennifer Lopez officially released her first full Spanish-language album, Como Ama una Mujer, in March 2007. Her now-ex married man, vocalizer Marc Anthony, produced the anthology with Estefano, except for "Qué Hiciste", which Anthony co-produced with Julio Reyes. The album peaked at number x on the Billboard 200, number one on the U.S. Pinnacle Latin Albums for four directly weeks, and on the U.S. Latin Pop Albums for seven straight weeks. The album did well in Europe, peaking at number 3 on the albums chart, mainly due to the large success in countries such as Switzerland, Italy, Espana, France, Belgium, Greece, Germany, Republic of austria, and Portugal.

On 24 July 2007 Billboard magazine reported that Lopez and at present ex-husband Marc Anthony would "co-headline" a worldwide tour called "Juntos en Concierto" starting in New Jersey on 29 September. Tickets went on auction 10 August. The tour was a mix of her electric current music, older tunes and Castilian music. In a subsequently press release, Lopez appear a detailed itinerary. The tour launched 28 September 2007 at the Mark G. Etess Arena and ended on 7 November 2007 at the American Airlines Arena in Miami, Florida. The pb unmarried, "Qué Hiciste," was officially released to radio stations in January 2007. Since so, it has peaked at 86 on the U.S. Billboard Hot 100 and number one on the Hot Latin Songs and the Hot Dance Social club Play. It likewise went peak 10 on the European chart. The video for the song was the kickoff Spanish-language video to tiptop at number one on MTV's Total Asking Live daily inaugural.

Lopez won an American Music Award as the Favorite Latin Artist in 2007. With Como Ama Una Mujer, Jennifer Lopez is one of the few performers to debut in the superlative 10 of the Billboard 200 with a Spanish anthology.

Jay-Z took office in a crossover record in 2004. He teamed upward with stone ring Linkin Park and produced the hit mash-up song "Numb/Encore". The song, while boasting a majority of Jay-Z's lyrics and hip-hop manner, the genre of the song would be considered stone because of the tropes of rock music included in the piece. George Nelson, producer of television set series "The Get Downwards" wrote an article titled Death and Rhythm of Blues. In the article, Nelson discusses the appealing to audiences of other races. With the production of "Numb/Encore", Jay-Z and Linkin Park were able to non but crossover genres, simply consumer groups as well.

2010s crossover acts [edit]

American opera and classical crossover singer Fernando Varela has performed in fully staged operas, equally a fellow member of the classical crossover trio Forte Tenors, and has toured both with David Foster, and independently equally a crossover creative person.^[19]

In 2017, "Despacito", a song past Luis Fonsi and Daddy Yankee, reached the top of the Billboard Hot 100 later the release of a bilingual remix featuring Justin Bieber. The vocal would tie a tape for the virtually weeks spent at the number-one spot in the Hot 100'due south history, and reached the superlative of singles charts in 47 countries.^{[20] [21] [22] [23] [24]}

Following Despacito'south success, other Latin songs as well found a market, including J Balvin and Willy William'south "Mi Gente" , which became a top twoscore hit in the U.S. and Great britain, and "Súbeme la Radio" by Enrique Iglesias, which reached the top x in the U.K.^{[25] [26]}

Christian crossover artists [edit]

The term "crossover artist" may refer to musical performers and groups that are Christian music artists, who many times originally are marketed through Christian record labels, radio stations, churches and other Christian media but who first selling in mainstream secular markets as well. Other times, crossover artists may start out in the mainstream market but have Christian undertones or themes if not overtly Christian. The term "crossing over" is used to depict when an artist who had started predominantly in Christian markets starts receiving mainstream success. Some people^{[ who? ]} may feel that the artist is betraying the church for fame or glory, while others may see this as a neat opportunity for the creative person spread the message of their Christian beliefs.

The outset major creative person crossover was by Amy Grant, with her 1985 album Unguarded and 1991 hitting song "Infant Infant" from the highest-selling Christian album Centre in Motion. The albums and single were distributed past a Christian characterization merely received heavy play on pop radio stations and were chart-toppers on the Billboard charts. Since and then, many artists have been labeled^{[ past whom? ]} every bit "crossover artist" regardless of whether they originally intended to market place to the Christian market, secular market place, or both. The virtually notable recent Christian crossover artists are Lauren Daigle, Kirk Franklin, Switchfoot, The Afters, Relient K, and many of the artists on Tooth & Nail Records such as MxPx, Underoath, Emery, Lifehouse, Zao, and Dead Poetic.^{[ citation needed ]}

Christian and country artists take experienced meaning crossover. Much of Carrie Underwood's work has been overtly Christian, including "Jesus, Take the Bicycle" and "Temporary Dwelling house" , "Something in the Water." Other notable Christian-country crossovers have included "Changed" by Rascal Flatts, "A Living Prayer" by Alison Krauss and "Believe" by Brooks & Dunn. For a time in the late 2000s, the God'due south Country Radio Network specialized in Christian-land crossovers, such was the extent of the body of music that fit into both genera.

A more than unusual case of a crossover creative person is Katy Perry. She released a little known, commercially unsuccessful Christian album in 2001 under her nativity proper noun, Katy Hudson. She then went on to release commercially successful secular albums in 2008, 2010, and 2013. There are still some noticeable Christian elements in some of her secular music, particularly her subsequently work, such as "Who Am I Living For" (2010) and "By The Grace of God" (2013).

Jazz crossover and rock crossover [edit]

Besides describing music of a distinct genre that becomes broadly pop, the musical term "crossover" suggested mixed genres. "Fusion" is a more common term for this phenomenon. Examples include jazz fusion and earth music. Example albums of crossover jazz plus classical music were albums of Deodato, Jean Luc Ponty and Bob James. Bob James I (CTI, 1974), contained the song "Feel Like Making Dearest", which Roberta Flack already had as a hitting. Radio stations played this vocal and contributed to the success of album One.^[27] The anthology was notable for adapting classical music to a modern-day scene, e.g. "In the Garden" was based on Pachelbel's Canon in D and "Night on Bald Mountain" was a encompass of Modest Mussorgsky's composition of the same name.

Other examples of crossover in music are bands that play a mix of genres such as funk, rap, rock, metal and punk, for instance bands such as Urban Trip the light fantastic Team, Faith No More than, Red Hot Chili Peppers, Suicidal Tendencies, D.R.I., Primus, Linkin Park, Rage Confronting the Car, System of a Downwardly^[28] and 311.

See too [edit]

• Jazz fusion
• World music
• Folk music
• Eclecticism in art
• Polystylism

References [edit]

1. ^ Lonergan, Hit Records, 1950–1975, p. vi: "These [State & Western and Rhythm & Blues], and the somewhat newer Adult Contemporary charts, occasionally exhibited what are called 'crossover' hits, when a Popular, C&W, or R&B star would have a hit that likewise charted on one or more than of the other lists.
2. ^ Gilliland 1969, show four, track 5; show half dozen, rail four.
3. ^ ^{a b} "Música Classical Crossover". artdancemovies.com (in Spanish). 24 August 2015. Archived from the original on 25 September 2015.
4. ^ "Nessun Dorma put football back on map", The Telegraph, 7 September 2007 (accessed 24 September 2015).
5. ^ Tommasini, Anthony (25 March 2002). "Eileen Farrell, Soprano With a Populist Bent, Dies at 82". The New York Times.
6. ^ Fryer, Paul (2014). Opera in the Media Age: Essays on Art, Engineering and Popular Culture. Jefferson: McFarland & Company, Inc., Publishers. p. 128. ISBN978-1476616209. [O]pera-pop crossovers as a miracle truly took off in the 1990s, from the Three Tenors concert onwards.
7. ^ Andreas Dorschel, 'Entgrenzung der klassischen Musik?', grazkunst 04.2017, pp. 24−25.
8. ^ "Operation Bocelli: the making of a superstar". The Age. Melbourne. 26 February 2003.
9. ^ "Andrea Bocelli in Abu Dhabi". ii March 2009.
10. ^ "REVIEW: Classical music star Andrea Bocelli at Liverpool loonshit". Liverpool Daily Mail service. 7 November 2009.
11. ^ "Andrea Bocelli Announces November 2010 Uk Arena Dates". Allgigs.
12. ^ "The king of Operatic pop". The Sydney Morning Herald. 28 August 2004. Retrieved 19 January 2008.
13. ^ Domingo And Bocelli: Keeping Opera Relevant, National Public Radio radio interview, 21 November 2008.
14. ^ "Sarah Brightman". Sarah Brightman Tickets. 14 August 1960. Archived from the original on 29 Nov 2010. Retrieved 25 June 2010.
15. ^ "Sarah Brightman fan site". 123allcelebs.com. Archived from the original on seven Jan 2010. Retrieved 25 June 2010.
16. ^ "Polish Tenor Impresses Salzburg". 13 September 2013. Retrieved 3 January 2016.
17. ^ "Andrzej Lampert, XVIII Ludwik van Beethoven Easter Festival". Archived from the original on half-dozen Jan 2016. Retrieved 3 January 2016.
18. ^ "Andrzej Lampert, tenor: Schedule". Retrieved 3 January 2016.
19. ^ "Exclusive photos: Rising stars steal David Foster's prove at Mandalay - Las Vegas Dominicus News". Las Vegas Sun. Archived from the original on 18 May 2015. Retrieved 18 March 2014.
20. ^ Trust, Gary (21 August 2017). "'Despacito' Is Second Song Ever to Lead Hot 100 for at To the lowest degree xv Weeks". Retrieved 21 Baronial 2017.
21. ^ Trust, Gary (28 August 2017). "Luis Fonsi, Daddy Yankee & Justin Bieber's 'Despacito' Ties for Longest Run at No. 1 in Hot 100's History". Billboard . Retrieved 28 August 2017.
22. ^ "Luis Fonsi & Daddy Yankee's 'Despacito,' Featuring Justin Bieber, Hits No. one on Billboard Hot 100". Billboard . Retrieved 15 August 2019.
23. ^ Cantor-Navas, Judy (24 Apr 2018). "IFPI Latin: 49 Percentage Ascension in Streaming Revenue and 'Despacito' Make for 'Double Whammy' in 2017". Billboard . Retrieved 30 July 2018.
24. ^ "Despacito video watched 4.3 billion times across the world in 2017". BBC. 1 December 2017. Retrieved 30 July 2018.
25. ^ "Why America's Offset Spanish-Language No. 1 in Decades Is Likely to Be the Vocal of the Summertime". 26 May 2017.
26. ^ "'Despacito' Effect: Behind This Year'due south Latin Music Revolution". Billboard . Retrieved fifteen August 2019.
27. ^ "Bob James | Biography, Albums, Streaming Links". AllMusic.
28. ^ "System OF A DOWN'S 'TOXICITY': 10 THINGS YOU DIDN'T KNOW". Revolver.

Bibliography [edit]

• Gilliland, John (1969). "The Tribal Drum: The rise of rhythm and blues" (audio). Pop Chronicles. University of North Texas Libraries.
• Lonergan, David F. Hit Records, 1950–1975. Scarecrow Press, 2004. ISBN 0-8108-5129-6

Further reading [edit]

• Szwed, John F. (2005). Crossovers: Essays on Race, Music, And American Culture. ISBN 0-8122-3882-half-dozen.
• Brackett, David (Wintertime 1994). "The Politics and Practice of 'Crossover' in American Popular Music, 1963–65" The Musical Quarterly 78:4.
• George, Nelson. (1988). The Expiry of Rhythm & Blues. New York: Pantheon Books.

External links [edit]

• Article on the definition of Classical Crossover
• Article on the Shakira's internet worth

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Source: https://en.wikipedia.org/wiki/Crossover_music

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