Top 35 Crossover Quotes

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.

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.

I wouldn’t mind being the female MJ. I want to have major crossover appeal.

I’m very picky and I’m in a situation where it’s a big crossover.

Tim Hardaway was a guy who had his crossover and then he could shoot a jump shot and he could get to the bucket.

I run my routes like a crossover dribble. It’s about taking angles, faking one way but going the other, and being savvy. And then, instead of running to the basket, I’m running away from the defender.

There’s Jay-Z, who morphs a certain street hustler’s cool and indifference into CEO extravagance. But for all his prominence, Jay-Z hasn’t written a lot of crossover hits.

I feel like I don’t fit in. There’s not a lot of outlets for urban music, for black artists who don’t have that crossover thing going early on.

‘Sorry’ just fit the bill for the crossover that both Lost Stories and I were attempting to do musically.

I really hope that with my album, because I have a bit more of a mainstream crossover following, I really hope that I can introduce some new listeners to this world of instrumental music.

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.

One of my big influences as a young player was Allen Iverson. All I wanted to do was the left-to-right crossover, because that’s the one he was doing most.

There have been a lot of crossover with celebrities and politics but to me, I don’t think I would go into politics.

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.

My favorite type of music to sing is a crossover between country and pop.

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.

Once a film is selected at Cannes, the crossover becomes very easy, thanks to the prestige and dignity it gains at Cannes.

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.

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.

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.

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.’

As far as doing TV, I do think there’s a big audience out there that could enjoy classical music, but they don’t know how to find it, and sometimes by doing different things… crossover things probably make up about 5% of what I do.

I’d like to see more crossover between white and black music. That’s something I’ve been advocating for years.

There is a line in which populism can cross over into demagoguery. Demagoguery is the crossover where populism becomes a bad thing, and people make things up, and they assign responsibilities that aren’t fair and justified, and scapegoat communities. And then it becomes a very bad thing.

I think they want to keep it separate, but I’ve never been a crossover artist for some reason.

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.

I like that outlaw crossover rock ‘n’ roll-country sound.

The greatest thing about sports, to me, is just the crossover into everyday life.

It didn’t come to pass or anything, but it would be interesting to do a ‘Sex Ed’ – Marvel crossover.

At no time was I trying to write a crossover record.

I thought I would make so much money and be the next Ray Leonard. Maybe it was farfetched, but I thought I could be a megastar. I could fight, and I had a lot of crossover appeal that was necessary to promote myself. I thought I’d make a ton of money and live off of it the rest of my life.

‘Slow Heat in Heaven’ was my ‘breakout’ or ‘crossover’ book, and I loved the freedom I felt writing it.

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 not a big crossover person, I’ll be honest. I try to keep ‘Hellcat’ separate from the larger Marvel world because I want it to be a book anyone can read, not just a hardcore comics fan.

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.